Shad + Special Guest (Juno Block Party, March 24)

Shad was echoing up King Street as I emerged from the path. He continued to bang em out as I rocked up to the opening set of the Juno Block Party beside Roy Thompson Hall. There was a sizable crowd amassed, especially considering the early time and swooping temperatures for late March. They wouldn't be disappointed as Shad, flanked by DJ T-Lo and Adam on bass, would put on a strong set as per usual. My vote for "favorite Canadian hip hop artist" (is that what he's nominated for?) played as he knows how - slick, smooth, smart flow, with a smile and a swagger of a confident yet humble MC. Having seen him three times since TSOL dropped is a testament to his show and hence I'm not complaining when I say that I've seen this set before. However I'll focus on the new - such as the brand new verse tossed into Rock To It, as well as the set closer.


It was a foregone conclusion that we'd hear Live Forever upon seeing the line-up, what with this City & Shad collab recently dropping. I was pleased that it turned out as a Dallas Green cameo in Shad's set. (After all that is essentially what the song is, despite the equal billing.) Dallas emerged on stage and the girls swooned as he crooned the chorus, while also singing along off mic as Shad slayed it. That final verse is something! and Mr. Green appreciated it by throwing a bear hug on the MC from behind while he closed it out.


Check out the C&C review from later in the party.
Hannah Georgas too!

Hannah Georgas unimpresses (Juno Block Party, March 24)

Hannah Georgas created a catchy, quirky and diverse album in This is Good. Unfortunately as the set opened with a very weak, slow song I was worried that it wouldn't translate live at all. And perhaps it was the foot-numbing cold but song two didn't help much either. A smart call to break out cutesy first single, Bang Bang You're Dead, but with a muffled chorus even this fell flat. 
"Hannah, I'm trying to enjoy his foray into freezing temps, but I need you to try and cut through it with more than effect keyboard. "
The rest of the set was alright, Chit Chat played well enough, the title track came across though it didn't add anything. The general feeling I had going away from this show was about as weak as the feeling in my frost bitten toes - it did nothin to improve upon the record.


See City & Colour who closed out the night.
See Shad who opened the party.

City & Colour (Juno Block Party, March 24)

Admittedly I'm not a huge City & Colour fan, give me Alexisonfire any day, but he's a respectable songwriter and an entertainer. Realizing the acoustic was put away and staying away due to the cold weather wreaking havoc on the tuning was especially disappointing as that aspect of his repertoire is particularly engaging. Dallas, both solo and with three backing mates was fine but nothing to write home about. He hardly even had any zingers for the inevitable "I Love You Dallas'" pouring from the crowd - half the reason why I attend!

And no, I was not the guy who started the fight... at a C&C show...

See Shad who opened the party
And Hannah Georgas who... also played

Suzie McNeil (TIFF Lightbox, March 20)

As the second of two introductions to Neil Young's Heart of Gold concert film (following Emm Gryner) Suzie McNeil came on stage in her distinctive fashion style. I was impressed with her vocals as accompanied by a male acoustic guitarist she covered the song that made her cry as Neil played it for the closing ceremonies of the Vancouver 2010 Winter Olympic Games.
Following this song our surprise was that she called Emm Gryner back onstage for a shared tribute to Mr. Young and a cover of Heart of Gold. It wasn't quite the surprise we'd hoped for of the man himself showing up, but it was enjoyable nonetheless.

Emm Gryner (TIFF Lightbox, March 20)

Familiar with Emm Gryner's name I was impressed by the long list of her accomplishments read as her introduction. In turn she was there as an introduction to Neil Young's Heart of Gold concert film. Covering Neil's Hey Hey My My (Into the Black) accompanied by her electric guitarist, Jordan, she held her own on a stellar song. Her high-heeled boots were a little funny but her voice was strong and obviously a departure from the original, but retaining the feel of the song. Unfortunately the song was not featured in the film for direct comparison, however she did return alongside Suzie McNeil for a rendition of the film's title track. The back and forth with Suzie was okay, brought down by a few flubbed lines on both parts, but the mix of acoustic and electric guitar carried them along.

Dinosaur Bones (Bait Shop, Mar 12 afternoon, CMW)

Dinosaur Bones did play a tight set of indie rock songs, so tight that it even included precision tambourine. As they pointed put with "A big Fuck You" to the scheduler, they had the unenviable task of trying to follow up the manic set from the Zoobombs. Even with the bass player's best efforts to match by first climbing, then leaping off the speakers and running down the half pipe into the middle of the crowd it, only came across as a fully respectable set, but nothing transcendental. Wrapping up with their couple of singles, N.Y.E and closer Royalty was a strong move.

Zoobombs (Bait Shop, Mar 12 afternoon, CMW)

Definitely the most ridiculous set I've seen in 2011 and I only caught the last four or five songs. It's not that I can't remember how many, it's more that I couldn't tell as this Japanese four piece played relentlessly from the moment I walked in the door. The Zoobombs skinny ring leader frenetically demanded more and more out of them between bouts of screaming into the mic, dropping to his knees and firing his guitar in loops around his shoulders. To their credit the bandmates didn't even flinch upon delivery - in fact their drummer acted as a piston continuously firing without any signs of wear (even busted sticks couldn't slow him down). The female synth player was no slouch either and bassist good-naturedly took some playful slaps during a duel with his singer. It was balls to the wall, full throttle, and it was damn incredible. Just watch the vid and realize this is at the END of a full set just like this!

Cuff the Duke (Horseshoe, Mar 11, CMW)

Odd that they were playing a show without any released material to support, but I guess CMW brings bands out of the woodwork. Besides as they showed us, Cuff the Duke have gotta get back in the swing of things with a new album on its way. The native Oshawa lads have got their style down by now, anchored by Wayne Petti's strong songwriting and equally enjoyable vocals.

With all five members wielding their weapon of choice (drums, two electrics, bass and that definitive acoustic) and we knew it was going to be a great night as they began with old favourites including I Remember those Good Times, and Listen to Your Heart. The whammy bar was broken out in earnest on songs such as It's All a Blur, though as mentioned they also included some songs from an upcoming release that show that the Duke continues to steam along. Speaking of which that rambler Take My Money and Run was another highlight in a set full of them. The Future Hangs' harmonica comes to mind though, though the response to hometown shout-out Rossland Square helped make it explode. Wayne joked about their guitarmonies which were plentiful throughout, but the round of solos (no bass though) that we saw on the closing number were super impressive. In fact the set was impressive altogether. Thanks for the show Wayne and co.!

Hooded Fang (Horseshoe, Mar 11, CMW)

Dressed in the gaudiest clothes they could find in the vintage shop Hooded Fang took the stage over from The Sheepdogs who had done a fine job warming up the max capacity Horseshoe for Chart's CMW showcase. Filled out to a full seven members, including a doublet brass section that totally made Laughing happen, Hooded Fang played a jangly set that entertained, even if it didn't 'wow'. Leading lady did her part in not only singing but playing what looked like a toy accordion and some mean xylophone. Their latest album, Album, is quite catchy even if it seems to roll by without grabbing attention all too often. The same could be said for this set. With all that man-power it'd be great for them to really put on a show, and not just a fashion show.

By no means is this a negative review, just a blase one for a band that I was really excited to see again. I'll be rooting for them when the tour rolls around again in support of their NEW album they announced at the show should be out in the spring!

Winter Gloves (Horseshoe, Mar 11, CMW)

All Red did it for me. I mean I already liked Winter Gloves well enough but last year's album hooked me in as a big fan. First time seeing them since its release, I was pretty stoked and they lived up to the expectation by putting on a fun, danceable set of music that pumped out energy. (Best set of the night for that.)

As was the case the last time I saw them, they opened with About a Girl single/opener Factories which is always a good choice to get those toes tapping early. By the time Plastic Slides (a personal fave) played a couple tunes later those toes tapping already surpassed hand claps and moved into ass shakes (and a tambo toss by lead singer that seemed to smash into the stage perfectly on the beat!). It shows the musicianship from this Montreal band that they can play their many instruments one-handed; strumming a guitar while shaking a tambo, or just showing off as the drummer repeatedly raised one stick in a salute while driving the beat with the other. They know how to compose a song too - those dark keys on Trap the Mouse add a real edge. All told the song-writing, the music and the showmanship combined for a hugely enjoyable, up-tempo hour at the 'Shoe.

The Sheepdogs (Horseshoe, Mar. 11, CMW)

It is tempting to start listing off the classic rock'n'roll influences heard in The Sheepdogs music. Fellow Western Canadian band The Guess Who is an obvious one. Even moments are reminiscent of The Doors would apply. However it seems more accurate to say that this band is a classic rock band of yesteryear. As if wormholed back to the turn of the decade 1970 the Sheepdogs blasted out guitar licks while maintaining a straightforward listenability. They looked the part too with their shaggy hair, and shaggy, white-fur guitar straps. The titular track from their last album, Learn and Burn, came replete with soaring guitar solos and rock drumming, but that is only one example from a unabashedly loud rock set. For half an hour at the 'Shoe last night it was the seventies and the crowd was more than willing to go along for the trip!

Yukon Blonde (Great Hall, Mar. 10, CMW)

From the rhyming triplet introduction for Buck 65 (Neutron bomb/Yukon Blonde?) right through to the ripping guitars of the final encore song this was a set to please. This four piece blasts ahead with guitar rock that has enough pop sensibility to have you shouting along all night. Along with the familiar cuts from their self titled, post name change, they mixed in a handful of new tracks that were completely up to snuff. Collectively they've got as much talent as they've got hair and that shone as they ripped guitars all over Bride's Song. In fact the dude with the short hair, relatively speaking, could be seen noodling incessantly as well as providing the ooooos on Wind Blows.
Other highlights were when they pulled enough friends up on stage to double the Yukon population, as well as their incendiary encore closer that smoldered until it finally caught flames and roared.

Memoryhouse (Great Hall, Mar. 10, CMW)

Memoryhouse are the band that somehow slipped past the campus-radio music coordinator and his sidekick (that's me) in their hometown of Guelph all the way to a raving review on The 'Fork. I've been curious about the band ever since and finally the opportunity had arisen to take them in after enjoying their EPs for the last few weeks. For this reason I'm disheartened to report that what is so lovely in my headphones did not translate to the stage sure there's a host of excuses - first time all four played together, cavernous hall on a mixed music fest bill, or simply that this tending-toward-chill wave music is difficult to present live. Regardless the heavily synthesized guitar blaring from the speakers missed the mark and the lead female vocals didn't come across lovely and hushed as I wished they would. I thought about saying that perhaps it is for the best that I never saw them live, but on second thought maybe an intimate (Memory)house show with a captive audience would be less a disservice and more suitable. The final song, slow and soft, came closer to this, at least for the first two rows.

Young Empires (Great Hall, Mar. 10, CMW)

Kinda like USS but without the extra dose of party, this three piece spread some guitar, bass, and keys thinly over pre recorded dance beats. There certainly was an ass-shaking element to the set but unfortunately they were trying to get notoriously rigid Torontonians to dance simply by goading us into it. If it was my band I'd craft a new song over a familiar beat, play it early and set the tone to get people moving.

Prussia (Great Hall, Mar. 10, CMW)

With vocals like the Born Ruffians bordering on Boats, Prussia took to Toronto from their home town of Detroit (Rock City). Here the five entertained by playing indie rock to the early crowd in the great Great Hall. Their sound can further be characterized by their offbeat timing and the singer's ever-present maraca that he shook and tossed all over the stage. For at least one member it was his first time in Canada and personally I'd love to see them back once they've fully flushed out their sound.