Ontario. They also performed an unannounced nine song set on September 3, 2015 as part of a tribute concert at the Art Gallery of Ontario. In the early hours of September 7, 2015 Rheostatics performed with various guests at an after party at the Monarch Tavern after the performance at the AGO. On April 29, 2016, Rheostatics (Bidini, Kerr, Tielli, Vesely) with Kevin Hearn and Hugh Marsh performed at Massey Hall. They performed a warm-up show on April 24, 2016 at the Starlight Social Club in Waterloo, Ontario with the same line-up. On August 27, 2016, Rheostatics (Bidini, Kerr, Tielli, Vesely) with Kevin Hearn and Hugh Marsh headlined at the Harvest Picnic festival (Christie Lake, Ontario). On September 18, 2016 the same line-up performed at the Toronto Urban Roots Festival (TURF). Reforming On December 9 and 10, 2016, Rheostatics (Bidini, Clark, Tielli, Vesely, Hearn, Marsh) performed at the Horseshoe Tavern in Toronto, where five new songs were debuted: "Mountains and the Sea" (Bidini), "Music is the Message" (Vesely), "Chemical Valley" (Hearn), "Albatross" (Tielli) and "It's the Super Controller!" (Clark). With Dave Clark returning to the drum kit, and the introduction of new material by all members, this show marked a return to regular, if infrequent, performances. On January 1, 2017, the band appeared on The Hip 30, a special Tragically Hip tribute episode of CBC Radio 2's The Strombo Show, performing a cover of the Tragically Hip's "Bobcaygeon". In June 2018, Rheostatics started recording sessions for a new album. Here Come the Wolves was released on September 6, 2019. It is their twelfth album and their first album of original material in 14 years. Style The band's style was highly eclectic, feeding off the creative cross-pollination of each member's distinct musical style, and was marked by a willingness to experiment with just about any musical idea. Tielli's material tended toward progressive rock, Bidini brought quirky humour and new wave influences, Vesely pursued a relatively mainstream pop-rock orientation which meant that his songs (including both "Claire" and "Bad Time to Be Poor") garnered nearly all of the band's radio airplay, and Clark's songs were punk-flavoured. While this eclecticism appealed to the band's fans, it also made them difficult for a major label to market – some of their later albums, especially Introducing Happiness, were described by critics as playing more like compilation albums than the work of a single band with