Sleigh Bells (Sound Academy, May 17, 2011)

Sleigh Bells rocked out in front of a massive bank of speakers, to augment the already blaring house gear. Additionally interspersed amongst this equipment were strobelights of all colours and frequencies, all at uber bright intensity. Speaking of intensity, the lead lady brought it and threw it all over the Sound Academy. Seriously the Tuesday night crown could scarcely keep up with her and were even called out a few times for it. A solid representation of Treats was displayed following a heavy metal-into-Sabbath's Iron Man lead in. Atop the preprogrammed pounding beats and samples, the lone guitar ripped the place apart. The preprogrammed aspect meant not much unexpected could happen, which reduces excitement, but her vocals were impressive in that she could not only keep up, while running and dancing all over the stage, but she could shriek too. Sleigh Bells at high volume is good anytime - with the band playing for you is even better.


Co-headlining with CSS.

Shad (Wrongbar, May 12, VIP)

For as many times as I've seen Shad perform there have been new incarnations of his performance. And so the emcee was true to form for the VIP performance at Wrongbar. Ever-energetic Shad took to the stage with his authentic raps and confidence that refrains from being cockiness. The expected assortment of tracks were thrown down with 'my man DJ T-lo on the ones and twos and Ian Koitus on holdin her down on the bass'. Didn't take long for the first blip, in the form of a cameo by Lisa Lobsinger of BSS and Marge-Simpson-hair-lookalike fame. She sang on Rose Garden but unfortunately for all her mic was real low or even off, but at least we got got see her pretty face. In the vein of Telephone from last year's TSOL, Shad dropped a new track that sampled rings and dial tones, calling this one Cell Phones. (Speaking of Rings, Diamond was spotted in the audience sans makeup but with that signature 'do). In other musician news Grand Analog stole a mic to throwdown his Shad-featuring tune that allowed music to make the world go round and stuck around for The Old Prince Still Lives at Home. The intensity never waned as one track was spit completely from the floor and power tune We, Myself and I pushed the decibel level in the capacity club. So thoroughly had he entertained us that he had to scrape the bucket for his encore but it was no B-side as he cracked out a brand new tune that met the bar that Shad has loftily set for Canadian hiphop.


Opener: Miracle Fortress

Miracle Fortress (Wrongbar, May 12)

Much has been said of Miracle Fortress' departure in style between debut Five Roses and Was I the Wave? Unfortunately we wouldn't get much of a head to head comparison as the new album dominated the set. As Graham Van Pelt is only touring with a drummer he had to rely on prerecorded samples for much of the music and this back fired off the bat as they were barely a change from the house music that had been playing and the chatty crowd took some time to register that he was even performing. In addition Graham played the guitar and worked the sampler while of course singing too. Personally I am one in the disappointed camp with the change in Miracle Fortress' sound, not that it is bad but it isn't the sound that I'd really gotten into a few years back. With that in mind to say that this show didn't wholly impress or win me over isn't a huge knock - the only 'old' track in the set came as finale and wasn't enough to make it memorable.


Opening for: Shad

Pat LePoidevin (@Tranzac, May 6)

The real Pat Lepoidevin took to the stage to much ovation, and was accompanied for much of the night by an understated drummer who added appreciated soft percussion to the tracks he was featured on. Now that the drummer has gotten his due I can focus in on Pat, the man of the hour. 


With less obvious looping than the first and only other time I've seen him (my introduction to him), his vocals were even stronger and more confident, if that is even possible, and more than carried the show. The new song, Fire, played early and was a testament to the strength of the new material which bodes well for Pat, as well as for his fans. In fact other ditties off most recent Highway Houses were interspersed throughout old favourites (who am I kidding I can't even choose faves) all night. Amongst them was 97, a heart-wrenching affair that really showcases his storytelling abilities. However primarily strumming his ukelele it was his strong and, at times, strained (seemingly with emotion) singing that made this show a spectacle!

Despite the warmth it was a perfectly small venue full of perfectly adoring fans who maintained silence when necessary and hummed along when appropriate. In particular the silence was appreciated as Pat looped his voice, entirely a cappella, over and over again to build a dense, glorious melding of layers that blew us away in encore with Highway Houses. Hard to completely capture the magical feeling but if you hear his streaming cafe album or have a chance to take in the live show I guarantee satisfaction. I made that very guarantee for this show and was easily justified.


Openers: Dog Is Blue

Dog is Blue (@Tranzac, May 6)

Self-proclaimed Pat LePoidevin impersonators Dog is Blue (at least they made that joke all night) were a simple duo who played upbeat indie folkpop tunes. Primarily led by the male counterpart to the female keyboard player, their jovial banter and fun songs came across real well in the small, warm Tranzac room. According to the band I wouldn't have been ostracized for yelling out "Hot Air Balloons" to which someone surely would have echoed "and submarines" but unfortunately I didn't and therefore didn't get to hear it. They were cute, quirky and interesting, just as their DIY sign that was wired right in to light up along with the keyboard. Too cool!


Opening for Pat LePoidevin

The Rural Alberta Advantage (Phoenix, Apr 29)

The latest album may be Departing but on this night it was all about returning to their Hometown (of Toronto of course!). A max capacity show at The Phoenix on a Friday night saw spirits high both in the crowd and on the stage. Amy was beaming, while Nils played acoustic guitar as earnestly as ever and Paul, well, Paul was Paul. Intensely bashing his drumset, all the while a look of ecstasy on his face to match that intensity.

Playing their hearts out to any and practically all songs from either release (including In the Summertime, yay) they fed off the energy in the room. One particular moment of interaction came when the first member of the all ages crowd got up to body surf and Nils laughed mid lyric at this sight. The same came later when they upped the ante and pulled a stage dive! Granted Four Night Rider is a fantastic song but.. Suffice it to say everyone was having a ball and when suitable set-closer Stamp played its last chord there was no doubt that we'd demand them back.

Toning things down as he'd done earlier with a solo acoustic version of Eye of the Tiger, this time Nils played The Littlest Hobo before his bandmates returned. They flanked him for a pretty North Star, a raucous Departed highlight in Barnes' Yard and finally the tumultuous ending of Deathbridge in Lethbridge. Phenomenal.

Openers: Hooded Fang, Modern Superstitions

Hooded Fang, Modern Superstitions (Phoenix, Apr 29)

Lucky for Hooded Fang there's plenty of room on the Phoenix stage for their seven members. From this position they played a mix of tracks from the current album, Album, along with a bunch of new ones too (and only Land of Giants from E.P.). Unfortunately the vocals for both male and female lead singer, especially the female, were pretty low and it as tough to get the full effect of the songs. Admittedly the lyrics are rather simplistic, and seem to be getting more so as the new songs were primarily composed of 'ohs' and 'woos', but still it'd be nice to hear them. As much as I loved their EP and associated tour, and even really like Album, I can't seem to get beyond the 'Like' stage with their recent live performance. Could very well be a case of heightened expectations while the catchiness just hasn't quite translated. The potential is there though and I remain optimistic! Hopefully at Hillside..


Modern Superstitions were fine at playing their instruments. The songs had plain lyrics and decent melodies, but these youths really didn't bring anything new to the table where the Yeah Yeah Yeahs among others sit and sing pop influenced, female fronted indie rock.


Opening for: The Rural Alberta Advantage

The Acorn @Horseshoe (April 28)

The Acorn started real strong despite the recent departure of a founding member. Still a five piece and that beloved double percussion combo really did some numbers on us, namely Kindling to Cremation and Hold Your Breath. The Flood Pt.1 excellently showcased their skills with the mid-song guitar breakdowns and varied drumming. They had to stall as they waited to be rejoined by their former secondary singer who had been Misplaced. He sang on a few, remarking that it was weird to sing without a guitar in his hands. Following his departure there was a slight mid set lull but a strong closing brought it all together.
Lit from the stage up, they picked it up with No Ghost and Low Gravity before having Jeff rejoin them on the closer. In encore they did an Acorn fan favourite in a rocking rendition of Crooked Legs. As it was their final night of the tour they showed some love to Evening Hymns and invited them, along with any other musician friend in attendance to come on stage for some fun. This came in the formof cover songs! Tom Petty's Won't Back Down, and You Wreck Me led by Evening Hymns. All told a couple of entertaining sets from an up and comer and a well trodden old timer (relatively speaking).

Evening Hymns @Horseshoe (April 28)

Leaving the hubbub of the Horseshoe's front room I found a captive, silent audience in an oft chatty space. Rightfully so, everyone was drawn in by the bearded man laying impassioned lyrics over light electric guitar notes. As it turned out this was the opening song from the man behind Evening Hymns. Joining him after this were a female, subtle bassist with backing vocals, the ginger D'urberville (yes I know the D'urbs are dead) on keys and special guest Wooden Sky guitarist as well as a friend who sat in on the odd song with soft tipped drumsticks. The music was all new to me and I found it to be indie music that was slightly dark and downbeat in a beautiful way. Truthfully I could hear tender Counting Crows moments primarily in the lead vocals, and this was a positive. A trumpeter joined for a few tracks and brought something extra to each one. In finale everyone left the stage again and the bearded fellow worked the loops slowly building up guitar, then vocals, followed by keys and surprisingly danceable synths before the stage flooded again and all the aforementioned plus the Acorn singer repeated out a line. A really gorgeous and satisfying set from an artist and group to look out for.