Coeur De Pirate (Harbourfront, June 24, 2011)

In the distance a roar subsided into Ensemble. As we wound our way up the aisle of the full (but not BSS full) Harbourfront stage, Beatrice was front and centre at her keyboard. With confidence she led us through a bubbly set that intermingled songs from her lovely self-titled debut with those from her forthcoming September release. Her four piece all-male band are no slouches either, swapping synths for violins, acoustic for electric, bass for cello, and drums for xylo, respectively. (Guess I haven't got a shot of infiltrating the talented band to spend long hours with the endlessly endearing leading lady.) 


Beatrice addressed the audience primarily in French, as this was the FrancoFete, but did so with charm and a smile that tided us anglophones over. Besides the music spoke for itself, especially the slightly darker Fondu au Noir, which did away with the drums and showcased the violin and her splendid voice. There were lighter moments as well such as the new Danse et Danse that saw Coeur de Pirate on her feet for a predictably dancey number. Ava, another new song was on the lighter side too and hit the mark, as did the uke on Printemps.

Despite her mining for cover ideas on Twitter, she did not include any, barring a song with the music written by Jay Malinowski, her partner in Armistice.  From this project she played half a song of on this night, solo, in encore. In closing was the song that had been noticeably missing from the set and as her bandmates resumed their positions we were asked to sing along to Commes Des Enfants. We did and continued to cheer as they lined up to take their bow.

Hollerado, Tokyo Police Club, Paper Lions (Burlington Music Festival, June 18, 2011)

Paper Lions fit perfectly on the bill with Hollerado and TPC. Four piece outta Charlottetown playing poppy indie rock with gusto. Trouble has a different sound than most of their stuff, slowing things down with some piano but it works on me, and Gene Simmons too. For a stellar example of their go-to strengths look no further than their live performance of Travelling. And for a hint of nostalgia and fun they brought out a Pete Gabe cover, Solsbury Hill which added another dimension to the set.


Hollerado appear to have the life. Every night is a celebration on stage complete with confetti, friends, beer and of course great music! The show was much the same as last time in Guelph, with a few more tunes added in to round out the hour, including another throwback cover similar to Paper Lions before them - this time with Young's Rockin' in the Free World. Also there were a tonne more people to revel in the party so the band were obviously having a blast and feeding off the energy and it made it even that much better.


Tokyo Police Club have super duper catchy songs. I've always found that the live show doesn't quite do them justice - not to say it isn't enjoyable, it's just not super duper enjoyable. That being said I caught the opening few numbers but having just seen them in Guelph (still need to blog review that one.. half finished on my ipod for 3 months) I went for a quick wander of the fairgrounds before returning for the final couple songs of the closing main stage set of the Saturday night Sound of Music Festival. I wasn't disappointed in doing this! They were joined by Max from The Arkells for a rumbling rendition of Your English is Good. The encore was ridiculous. All band members were paged to the stage so joining the Club were Max again, and most of Hollerado too. A three-way, three-tambo, toss ensued, as well as following suit of the previous acts they busted out a throwback cover which saw anyone grabbing a mic to belt out the lyrics to Petty's American Girl. Already beaming at the sight I burst out laughing as the scene turned into Hollerado singer, Menno, rolling somersaults across the stage. Pretty much amazing! 

Stars (Yonge-Dundas Square, NXNE, June 17, 2011)

From what I can recall this was my ninth time seeing Stars so there wasn't a heckuva lot that surprised me. Of note ...

The Five Ghosts banner hung behind them and that angel/ghost also appeared on Evan's bass.

Amy was in fine form after just giving birth a month or two ago (to Cranley's kid).

Still decking the set out with live flowers, though not nearly as much as the Bedroom tour.

Their exceptional backing guitarist was missing and in his place was an older professional who held it down to Torq's delight, apparently after only two rehearsals.

Songs:
Calendar Girl is always a treat. As is Ageless Beauty and Elevator Love Letter.

Wasted Daylight was a solid performance from the Five Ghosts release.

Your Ex Lover is Dead still hits the mark, and Reunion and One More Night remind how amazing Set Yourself on Fire was.

Take Me to the Riot sounded great too.

Imaginary Cities, Bobby Barzin (Rivoli NXNE, June 16, 2011)

Having never seen them before but seriously fallen for their debut Temporary Resident I was pumped for this show and was happy to get into the capacity Rivoli. The show was just about everything I could have hoped for out of a set. They stayed true to the structure of the songs while adding the raw live energy of rocking outros, guitar flourishes and, perhaps most of all, strong lead vocals. Marti Sarbit commanded the mic from the album/show opener Say You, through a smattering of new songs amidst Temporary Resident faves and even a Cake cover (Mexico) for good measure. This capable Winnepeg band secured my attendance at their next Toronto show, whenever that may be! Best of luck with the Polaris Prize.

Also arriving early had the advantage of catching a few tunes from the soulful-beyond-his-young-face, Bobby Bazini and co. This singer songwriter show some real promise in his genre.

Bruce Peninsula (Rivoli NXNE, June 16, 2011)

It was a comeback show of sorts for Bruce Peninsula, meaning that it was an even more joyous affair than the already-wonderful regular BP show. Following a health-battle over the winter, Neil Havarty was finally back at the helm and obviously happy to be there - both through his demeanour and words. With six vocalists across the front, closing down a great NXNE night at the Rivoli they played a handful of songs presumably off the delayed-til-September new album (but unfortunately not their cover of the Swimming Song). Additionally they broke out some old favourites in the form of set closers Steamroller and Crabapples. As if everyone in the room hadn't done enough hollering and hand-clapping they returned to bring the house down, rolling 2nd 4th World War right into Satisfied! I think I've closed with this cheesy line before, but it sure did leave us all Satisfied.

DD/MM/YYYY (Yonge-Dundas Square, NXNE, June 18, 2011)

Without much previous knowledge of the band, just good swirlings and having heard a few tracks prior, I pedaled over to give them a go. The four-piece played primarily instrumental with a heavy leaning that didn't really fit the gorgeously sunny day in the square. However Day-Month-Year carried on, swapping instruments and sending massive, tin-foil-esque rectangular balloons out into the crowd to be passed overhead. Double percussion dominated and was appreciated in the intricate arrangements. Pretty solid show for the small NXNE afternoon crowd.

Diamond Rings, Land of Talk (Yonge-Dundas Square, NXNE, June 17, 2011)

Diamond Rings has catchy as fly balls songs, but they are laptop constructed beats with some electric strumming overtop. So as much as I dig Special Affections there really isn't too much to entertain at a live show after you note the change of eyeshadow shade and just how skinny those skinny pants are. Is a highlight accidentally unplugging and then re-amping your guitar mid-song? Word was that he rapped on his opening tune (that I missed) - so perhaps a new twist to come?


Land of Talk have never been my thing and even with Gentleman Reg's cross-dressing alter ego, Light Fires, adding vocals on the first few songs I wasn't swayed by this show. The closing instrumental breakdown of the final song sounded good but it was too little, too late for me.

Sweet Thing (Rivoli NXNE, June 16, 2011)

Sweet Thing play catchy indie pop that can border on nauseating, or perhaps that is just the hotter-than-thou antics of their lead singer who spent the entire set posing, flexing or flirting. Luckily the rest of the band were entertaining to draw my attention, especially the bassist who ran and played and sang all over that stage. Opening with Dance Mother was a good sign but I thought there would be more of a dance party beyond the radio single from more than the first two rows of swooning girls. I don't think I'm quite their intended audience so perhaps that was what was missing. Lively enough set, full of pop and swagger, not quite hitting the mark for me.

CSS, Princeton (Sound Academy, May 17, 2011)

Like many of the fans down at the Docks on this weeknight I was here for the pumping jams of Sleigh Bells. However that set lacked the crowd participation that the small but rabid contingency of CSS fans brought to their night-closing set. The girls (and their male bandmates) played high-energy and it reverberated right back at them as people grooved along. For me it was the obvious Music is My Hot Sex, from their debut album where their lack of grasp of the English language was most endearing, that got me going. I also appreciated the shout out to Jesse and Sebastien before launching into Let's Make Love and Listen Death From Above. But by the encore I didn't even need the recognizability to enjoy the show as there was such a super energy rippling out of the small crowd.

Princeton were an alright indie rock band with some decent reverb and secondary vocals, but not a while lot to set them apart.

Joel Plaskett Emergency (Metro Hall Square, June 10, 2011)

Joel Plaskett may be the most prolific contemporary Canadian songwriter we have (no knock to John K., but Joel's volume speaks volumes) but he's best with the standup musicianship of his regular backing band at his flanks. Yes, there's something to be said for the Emergency. That teal guitar looks the size of a ukelele in Joel's lanky arms but sounds just fine, especially when offset by a splendid harmonica solo from Mr. Peter Elkas who was holding down keyboard and guitar duties as well through the night. Friday night at Metro Hall Square Joel proved himself again with over an hour set amidst Toronto's scrapers. Drawing from across the breadth of his catalog there was everything from Deny and Through from the ambitious Three, to throwbacks of Extraordinary and Come on Teacher off Truthfully, Truthfully. Even a selection from Ashtray Rock (Snowed In/Cruisin' into the excellent Face of the Earth) and an unreleased song that opened the two-song encore. Also included was a doublet interlude of just Joel, giving his bandmates a breather, and he was no slouch on his own either with a phenomenal rendition of the simply poignant You Came Along. With a comfortable stage presence and more than a couple mentions of the Luminato Festival that this show was kicking off in the fair city of Toronto, the large crowd amassed (despite the Stanley Cup Finals to compete with) was treated to a real show.

Spirits, Rikers, Kristie Nicholls Band (El Mocambo, June 9, 2011)

Spirits were just a duo. While that sounds wholly underwhelming, the set was anything but! Besides they had a backing (bass?) track playing along. With both members manning vocal mics the drummer threw his curly hair around and gave us a strong beat. Meanwhile, stage left saw a stellar guitarist workin his whammy bar to the max. If the single Open the Door was great, the next song and short set closer, was really, really great!


"Fur is dead" reads the kick drum. To my disappointment this was not a political statement but a fashion one as Rikers took to the stage in fur-lined leathers. The tunes started as 80's era rock, to match their attire, with an extra helping of synth. Leading the way in the dramatic fashion of many frontmen before him, the singer engaged the crowd despite his far off look, singing with the voice of the punk rockers of the timeframe his band is shooting for. At least I hope they are shooting for it as they were bordering on parody, complete with the keyboardist wearing his sunglasses inside the very dimly lit El Mo. If I knew it was a joke I'd feel more comfortable with the schtick as I found myself anxiously amused by it. The music itself moved away from the synths into more rock territory as the short, 5 (?) song set continued. The crowd was lapping it up, easily dancing along as the repetitive hooks were a snap to find. Apparently record execs were in attendance scoping them out - I'd love to hear their take!

Kristie Nicholls Band aren't breaking new ground in the apt rock realm but at least they're doing a decent job of it. I'd liken them more to Thornley and 3 Doors Down before Theory of a Deadman. Only caught a few tunes but they knew how to play. The question remains; Which one of you dudes is Kristie?

Allo Darlin', Rob Moir (El Mocambo, June 11, 2011)

Allo Darlin' must have had a helluva day scrambling to get an entire band's worth of gear together when theirs didn't arrive from Montreal, but you wouldn't know it from their disposition. They were all smiles and even a few chuckles as both the bass player and then the guitarist missed their cue ("Can't you count?" chided the drummer). This cheeriness turned out to be a key component of the show as they delivered their brand of indie pop to a small but devoted crowd at the El Mo. Stockin' footed front woman beamed as she delivered her deliciously cute vocals and strummed her uke, swapping smiles with backing vocalist and bass player. Not only were the tracks from their debut performed well (Silver Dollars a standout) but the new material, especially title track from Europe, excites me for its fall release. The four-piece are new to the game but have already mastered the integration of other songs into their own. Weezer on my fave, Kiss Your Lips, and a non-album song that sings a chorus from Grease (as well as the un-played What Will Be Will Be). The promise of the Brit-Oz alliance's debut looks like it will blossom as the new material sounds great, and the live show is thoroughly enjoyable.


Rob Moir was all alone on stage with his acoustic and it was a good thing he had the space as he paced and staggered back and forth while delivering emphatic singer-songwriter tunes. His voice is strong and enjoyable but in a flooded market it is hard to put him head and shoulders above the rest, even if he does stand on his tip toes the entire time that he sings.

Sunparlour Players, Mantler (Dakota Tavern, June 5, 2011)

In a one-off as a reprieve from writing and recording new material the three piece donned their suits for a night of entertainment. North is the perfect opener and I'm happy to report the Sunparlour Players continue to employ it in that capacity. Warning that his voice was likely to fail the lead singer soldiered on and frankly sounded just fine pulling out one great tune after another from their first (and only) two records. The new stuff must not be quite at a ready stage just yet as there weren't a whole lot I didn't recognize. Still the set-list definitely wasn't lacking with renditions of John Had a Bell and a Whistle, O Captain, Battle of '77 and of course, If the Creeks Don't Rise. Interspersed were percussion breakdowns and a tonne of instrument swaps - often mid song. For three guys, two sets and thirty instruments (okay bowed xylo, keys, guitars, multiple drumsets and all sorts of bells, accordion, clarinet, banjo, tambo, amongst many others) they really create a jovial, foot stomping time, every time. Tonight at the Dakota was no exception!

Mantler entertained as a lounge act should. It may have been the white suit over pink frills in part, but on top of that the set had that feel to it. From the simple song-title banter down to the keyboard driven, lyric based songs (with a healthy side of drums) the duo had a simple formula and stuck with it. Fresh and Fair played second last and was a tune I recognized and the promised (in dead pan) "epic" finale featured the lead rising from his seat to drop what really needs to be called a rap - an older, white gentleman's rap - to the delight of the Dakota patrons.