Jack White with the Montrealers: Pure, Unfiltered Rock 'n' Roll 🔥

Alright, so if you’re looking for a smooth, perfectly produced concert film, you can probably just keep scrolling. But if the idea of Jack White, **unleashed**, with a band that just *gets* it, sounds like your kind of night, then yeah, Jack White with the Montrealers is absolutely worth a watch today. Fans of his early work, the raw energy of The White Stripes, or just anyone who appreciates a proper, noisy guitar riff will dig this. On the flip side, if you need a story, or if you prefer your music videos with careful edits and a storyline, you'll probably find this a bit much. Like, _a lot_ much.

From the moment it kicks off, you’re just *there*. No slow fade-ins, no moody establishing shots. Just Bryan Foy, I assume on drums, hitting that first beat with a force that almost feels too loud for your living room. The Montrealers aren't just background players; they’re a unit, pushing and pulling with White’s almost erratic energy.

Jack, as always, is a whirlwind. His guitar work is _furious_ at times. There’s a moment, maybe twenty minutes in, where he just *shreds* a solo, head down, hair everywhere, and the camera just stays on his hands. You can see the veins popping. That’s the kind of detail this film really leans into. It’s not about perfection; it’s about the **sweat and the sound**.

Some of the camera angles are a little rough, which honestly, I kinda love. It feels like someone in the crowd just happened to have a really good seat and a really steady hand. You get these quick, almost jarring cuts sometimes, but it just adds to the raw vibe. It's not trying to be slick. That’s important.

There’s this one part, during what I think was “Steady, As She Goes,” where Jack just *stops* singing for a full measure, lets the crowd yell, and then jumps back in, perfectly. That little beat of silence, just the band chugging along, really hits you. It makes you feel like you’re actually there, not watching a polished product.

And the lighting! It’s mostly just harsh blues and reds. Sometimes, it’s so dark you can barely make out faces, which is actually pretty cool. It puts all the focus on the sound, on the shapes moving on stage. It's not trying to be pretty. It’s just trying to be _loud_.

The Montrealers themselves are a revelation. The bass player, whoever they are, has this **really solid groove**. They don't try to steal the spotlight, but their playing is just so *anchoring* to White's more wild movements. You can feel them holding the whole thing together.

I distinctly remember a little hitch in the sound system during one of the transitions. Just a quick feedback squeal that got cut off. It wasn’t edited out. And that’s what this film is all about. It embraces the messy reality of a live show. It's _real_.

You can tell this wasn't some huge stadium show. It feels more intimate, like a really packed club. The energy is intense, almost claustrophobic in the best way. The crowd shots are sparse, but when you see them, they're just *lost* in the music. Headbanging, yelling, just completely into it.

One odd thing: at one point, Jack tosses his pick into the crowd, and the camera just follows it, bouncing off someone's head. Not a critical moment, just… an interesting choice to include. It makes you wonder who was editing this, what they were thinking. It's these tiny, imperfect details that make it feel so human.

Ultimately, Jack White with the Montrealers isn't about capturing a perfect performance. It’s about capturing a moment. A moment of raw, unadulterated rock and roll, complete with all its glorious imperfections. If you appreciate that, you’ll love this. If not, well, there are plenty of other concert films out there that are a bit more... _tame_.

Didja notice?

• That little smirk Jack gives the drummer after a particularly fast breakdown?
• The way the camera sometimes just focuses on the guitar pedals for a long, long time.
• Someone in the front row trying to catch a drumstick. And failing.
• The microphone stand almost tipping over at least twice.
• Jack's distinct red, white, and black color scheme, even in the shadows.
• The way the feedback just hangs in the air a bit too long between songs.