The Kooks, The Postelles (Sound Academy, Nov 23, 2011)

The Kooks

Leading Luke was a ball of energy; engimatic and all over the stage he drew the crowd's attention off the top and held it throughout the night. Technically The Kooks were a five piece this eve (counting the maraca-shaker half-hidden behind the tower of synths) but even the bass, guitar and drummer took a backseat to their singer. His barely interpretable mumbles (English to English) between songs were met with cheers and a silly amount of Blackberry flashes. Thankfully he wasn't there to talk and he knew it - singing through a wide variety of Kooks tunes from all three full lengths. New music like Rosie, Runaway and Eskimo Kiss filled out the solid seventy minute main set, whereas How'd You Like That? and encore-inclusion Junk of the Heart earned a more permanent place on future set lists. She Moves in Her Own Way was quite welcome - proving the strength of their debut - and how many disappointed people would there be if they didn't include Seaside? This was a Luke-solo-acoustic number as 'the boys grab a beer' and he stood raised-up at the stage-edge for the singalong. He remained there as the band returned for an all-acoustic number (how does an acoustic bass work?) that had the drummer just banging one single drum center-stage. It worked as an enjoyable intermission to break up the set. In fact, the back and forth from electrified to acoustic was also appreciated as it kept things fresh. Act II standouts included Ooh La and closer Do You Wanna? Following a fairly lengthy absence Luke returned and sat his shaggy head of curls at the piano for a lesser-known (cover?) number before the aforementioned Junk of the Heart. For the night's final song he was back to his old self, prancing across the stage and crooning out Naive. Altogether it was a fun, and full set from the English boys. They've definitely matured since that infectious first album and as with anything it's better to grow than stagnate - as long as they keep appeasing the Seaside lovers.

The Postelles

The Postelles must have been hand-picked as a crowd-pleasing opening choice for this tour as they are essentially The Kooks Junior, USA. The four pals from NYC play upbeat, jaunty pop in the same vein and seem to have some fun doing it. The all-ages, nearly all-female crowd ate out of their hands, except when they asked whether we wanted a Ramones or Elvis song. ('Who?' or 'Okay, I guess') Hound Dog followed. Not sure based on this performance that they've got what it takes to be top tier but that White Night tune could definitely earn some air play.

Greg MacPherson, Tom Keenan (Manitoba Music, @Supermarket, Nov 22, 2011)

Greg MacPherson played an impassioned solo electric guitar set, shimmying and pacing all over the stage. His confidence was high and vocals and guitar rang clear, especially on opener First Class. The one man routine did grow tiresome after a while and wasn't fully saved by the addition of a drummer part way through. Nor the different drummer who joined him after that. Not that it was bad, just that it was much of the same.

With his acoustic, Tom Keenan sang mostly personal tales of failure, as he put it. Additionally he rocked a harmonica too. Nearing the end he implored us to singalong, to some degree of success. It was a decent set for another solo acoustic guitar but nothing to write home about.

Les Jupes (Manitoba Music, @Supermarket, Nov 22)

Les Jupes have got a look. (It was hard to choose best hair in the band - eventual winner, bass player for his tussled yet all-up do). This was no fashion contest though - this was a show and they gave us one. Following an opening new number they did my introduction to them, Myth #3, as well as Someone Lit a Fire Under Kruschev. On the latter they were giving it their all considering it was song three, as the drummer was leaving his seat to pound it out and guitar was cranking up the pedals for a searing sound. Outside of this the bass/synth player was confidently holding it down and the female keyboardist also provided xylophone on the slower, steadier, mid-set One Solemn Oath. Later, on another new track, she was great in her echoing backing vocals. In what turned out to be another all-too-short set they played a hard hitting version of Myth #7 (Honour) before closing out with the slow burn into crescendo of A Caveman Returns Home to Find the Fire Has Gone Out. I've been wanting to see this band for some time now and even with the wait and the anticipation I was not disappointed. Now I just want to see them again (and have them play Awake, My Ghost!).

The Details (Manitoba Music, @Supermarket, Nov 22, 2011)

Whoever decided to put The Details, arguably the best-known band, first up on the Manitoba Music night  did me a disservice. However the tail end of the set that I did catch was impressive enough. Familiar primarily with The Original Mark it was the first song I heard in full and it was flippin' good. The five-piece from Winnipeg have got it down - couple guys on guitars including a rather capable frontman, a female violinist and a girl wielding a massive bass, all in front of their drummer. The intro to the next song medleyed "Live like a refugee" into "Moves like Mick Jagger" before launching into a fantastic original that exhibited their musicianship, including some violin showcasing. It was fantastic. Their final song was a short ditty and before I knew it they were done. But like the Jets, they will return amidst eager anticipation.

Elliott Brood, $100 (Phoenix, Nov 18)

Elliott Brood


Elliott Brood, the solo-named three-piece, were ecstatic to be home playing for an adoring hometown crowd. The Phoenix seemed a large venue when I first heard of the show but who knew all the misfits that their 'death country' could draw. The place was full and people were audibly excited. It was unfortunate that the beginning of the set after the initial excitement of their appearance was hampered slightly by less familiar new material and more so by technical difficulties. The latter visibly frustrated the seated (in a wonderfully EB branded wooden chair) guitarist who spent nearly an entire song sang by his partner and drummer swapping cables, guitars, pedals and amps before plugging in and ripping an electric guitar solo straight off to close out the tune. Nothing like making up for lost time!

It seemed that as the set passed the midway point of a damn good chunk of their catalogue, primarily Days Into Years new, but also touches of old, that the energy and intensity grew. Don't get me wrong - If I Get Old, Hold You and Northern Air are strong additions to their repertoire and nice to hear live, but what takes off with a crowd more than a round about their country's provinces? (Oh, Alberta) Follow that up with the double ukuleles of The Valley Town and you've got the crowd playing into your hands. By the end people were jumping up and down and hollering out the lyrics and it was as an Elliott Brood show we've come to know. Perhaps it was the larger space or the newer songs but given enough time they brought it around. Their final song, Chuckwagon, had them playing two acoustic guitars and drums so intently that is was awesome to watch. Even though it had been a plentiful set they crescendoed at the right time and had us begging for more.

First encore song must have been a cover that brought things back into this realm only to ratchet it right back up there for Miss You Now! How could I have forgotten about that classic? And it was phenomenal to see people handing the love over to their hometown heroes (sorry Windsor, they live here now). Elliott Brood were bringing it home for the hometown crowd. Nothing beats ending on a high note.

$100

There are a small handful of bands that win adoration from critics and adoring fans that I just can't seem to crack into. One Hundred Dollars would fall into this category. Due to love from fellow artists that I enjoy I have seen them a few times but the female-vocal, peppy (for country) country just can't worm its way into my heart. Simone's delivery is unique but seemingly without much effort. She performed one song with a simple drum pulse which was interesting. The electric guitar lead is pretty impressive on songs, and the drumming from the fill-in female on somewhat repetitive Waiting on Another was great too. Fifty minutes of this was too much for me and I was fine to see them go after Ties that Bind.

Bruce Peninsula with Bruce Peninsula (Dakota Tavern, Nov 16)

The Dakota Tavern is a wonderfully intimate place, and the Bruce Peninsula band is full of wonder that best rubs off in an intimate setting. Having played a slew of shows in Toronto since reviving the revue not even half a year ago, this one was not to be missed not only because the new album has now had time to resonate but it would be in this small space. As an additional bonus they displayed some of their sometimes overlook wonders by opening for themselves. Yes, a novel idea where they allowed their members to showcase some of their solo or side material, or just to have a different tank on BP mainstays.

Starting off this quirky set was a solo acoustic guitar under the the Choir of the Bruce Peninsula. Following we heard from the Tamara-led, also acoustic, Weather Station, and one from Andrew who traded his bass for guitar and vocals. The band reconvened for the new Or So I Dreamed before a personal highlight in Eons that included Matt's vocals alongside the four females and lap steel. Micha set the entire band rolling with their a capella parts and then sang over it to great results. Ensemble they slowed down Shutters before the drummer stepped forward. First he gave a history of popular drummer-cum-frontmen before singing a song that was quite enjoyable, pausing in the middle for a seemingly incongruous ramble about a classic Christmas film, before he finally brought it back around tying it in to vocal rhythms. And then split the crowd and asked us to provide the vocal rhythm to complete the song - it was quirky, funny and fun. Neil Haverty, 'lead singer', brought it down a little with a slower number on electric guitar before Micha led us in a Sesame Street singalong 'bout jelly. Don't ask - it fit somehow. In first set finale it was a live favourite in their take on Loudon Wainwright III's Swimming Song  that was as strong as ever.

The "ten minute break" before the main set stretched much further but it wasn't as if anyone was going anywhere. Bruce Peninsula were about to play their new material plus a smattering of old favourites. In fact Neil had the idea of opening with Satisfied to get things rolling off the top. Good call! Following that was a joyous set of new Open Flames, As Long As I Live, Pull Me Under and single, Your Light amongst them. This was done with a full contingent of nine members squashed on the tiny stage, as their tour manager joined them to add double percussion throughout (yay!). Playing a bass and lap steel on the same track is impressive and was often accomplished. Another highlight was the new Say Yeah which started slower but built up so, so well. Adrenaline further proved how versatile and great the new material is with it's unique percussion. Micha led what I believe was a cover about a lying salesman before they hit us with Inside/Outside into Steamroller. Honestly, I swear it never gets old.

No chance were they getting off that easy - despite playing practically their entire repertoire. They did a number by a preacher with a gusty call-and-response chorus and then surged the night to climax with a rousing Crabapples in closing. Tastes just fine to me!

Amy Millan, Patrick Watson (Koerner Hall, Nov 10)

Amy Millan began the evening, admitting that these were songs she hadn't dusted off in the nearly two years since her last solo album, Masters of the Burial. If there was rust there it did not show from the leading lady, nor her upstanding accompaniment. The selection of gems from both of her solo albums was beautifully brought to life with the aid of Ben Whitely on standup bass, Dan Whitely playing acoustic and electric guitar or alternatively an electric ukulele that had a uniquely great sound. However it was the multi instrumentalist Christine Bougie who opened on steel guitar but also played drums and whatever else was required, that really completed the sound. Ooo that lap steel with those acoustics. Magic! Speaking of magic it was simply great to hear Amy's smooth vocals at the forefront of the set. It was fantastic to just allow the music to overtake you from all angles and be immersed in the sound as she incorporated tributes, including a Sarah Harmer number and her beautiful Death Cab version (I Will Follow You Into the Dark). She also chose to play Stars' Ageless Beauty for its reference to melting, on this the debut evening of Cape Farewell North America, a foundation to raise public voice regarding climate change. Amy's self-proclaimed 'baby daddy', Evan Cranley played trombone on a couple songs but did not wish for any limelight, having just traveled home from possibly the final BSS show the previous night. The wonderful room was filled with Amy's sweet music, as well as her good humour in light-hearted banter, to really set the right mood to begin the evening.

Patrick Watson and co. were charged with the task of picking up from here following the intermission. They made an impression off the top by entering in sheer darkness, guided only by flashlight rings on their fingers. Taking their positions you could only reason that it was Patrick singing from the piano but in reality it was far too dark to tell. The song, about shining a little light, was being quite literally interpreted. In fact, the lighting was stunning all night long as strings of bulbs stretched from ceiling to stage that lit in pattern, and were coupled with backlighting through a smoky haze. It was a beautiful visual complement to the already wonderfully dense aural experience. A prime example was a classic that followed the few brand new tracks from the forthcoming album that they had wrapped in studio just a day earlier. This strong classic was Beijing and it was stunningly performed. As the song swept back and forth from piano through the achingly awesome strings over to the drums (and pots and pans?) and back again, the backlit reds flashed in time to make it an all-encompassing glorious song. I beamed the entire time and sat nearly stunned in its conclusion - most probably the best single piece of music I've witnessed this year.

Although this breakthrough moment happened early in the night it did not mean the rest of the set was a throwaway - far from it. To take advantage of the hall a few members stepped away for a two-person, one-mic campfire song front and center, before everyone was invited back for another one-mic effort to Big Bird in a Small Cage. The third and final song with this set-up saw Patrick in his unique, quirky way introduce Amy Millan who leant backing female vocals on a song that transitioned smoothly back into a full-stage, all-hands-on-deck show.

There were some lighter moments too, for example when the violin/drum battle was neatly ended by a slide whistle solo from Patrick (before he casually tossed it away once its use was no longer required). For the remainder of the set they returned to strong-sounding, fully fleshed out songs using everything but the megaphone. None quite hit the high of Beijing but it was still excellent and akin to that feeling.

A standing ovation from the audience had them return for Luscious Life much to my pleasure. Now following this they were taking their bows and Patrick apologized that they were limited to only one song for the encore. Despite the disheartening news we continued to applaud and as the band was headed backstage their fearless leader bee-lined for the piano. "I'm going to get in trouble for this" he told us as he launched into a solo rendition of The Great Escape. He flubbed a part and admonishing himself for it he returned to replay it again. Then leaving the piano to come center stage in the dimly lit room he ensured that we were singing along loudly (we were!) before reseating himself to close off the song and the concert. Watson is a musical genius whose live show really showcases this and deserves recognition. The venue, the Amy accompaniment, the reemergence with new material and the obvious enjoyment both on-stage and off, all summed up to make this a truly special musical evening.

Imaginary Cities, The Coppertone (Horseshoe, Nov 8)

Led by their large-voiced, axe-wielding front woman The Coppertone rocked (and rolled) with capital Rs.  Her guitar playing was loud and clear and struck in the way this type of music should. Coupled with her bassist and drummer (one of which was apparently new, but you wouldn't know it) they produced big, brash, and a bit bluesy rock. Recorded it hadn't left much of an impression but it resonated with the volume cranked in the Horseshoe.

Another happy set from Imaginary Cities, from the real city of Winnipeg. Their fearless leader charmed with her enthusiasm and lead vocals, assisted by the also-grinning, tattooed guitarist, backing-vocals bass and drummer. The set was a Temporary Resident breaded sandwich filled with tasty new tidbits in the middle. Say You and Temporary Resident started things off and throughout the night they filled out the sound with additional tambo, clap-alongs, and keys (that were either looped or prerecorded deeper into certain songs like the new Water Under the Bridge, I didn't pay close enough attention to tell which). Marry the Sea was swell too. New Bells of Cologne was alright but their recorded stuff is what got us out to begin with, so it was welcomed when Bookie asked them for one more to follow the original closer, Hummingbird ("when will you respond?"), and they responded with That's Where It's At, Sam - even playing an extended outro. Altogether enjoyable set.

The Crackling, Daredevil Christopher Wright warm Dan up (Queen Elizabeth Theatre, Oct 28, 2011)

The Crackling have grown in confidence and stage presence led by Kenton. It was another fine performance from the three- cum five- piece, now rounded out with trumpet and violin as well. Once again the standout was the Dan-drummed, "I Hear What You Say" refrained, Keep Me Drunk. Closer Bull in a China Shop was a little down tempoed to follow this but exhibited some of the Crackling's other strengths sans percussion The Daredevil Christopher Wright are a trifecta out of Wisconsin. A cappella opener featured their chorus of voices as a beautiful introduction before the drummer settled in, first on the xylophone and then behind his kit. This was easily the most intriguing aspect of their interesting set as he didn't just keep time but added flair every step of the way. Four-four was not even on the table, as beats were changed, tapped on drum edge, played on cymbal or with a metal brush, sometimes dropped altogether. On top of this backdrop they harmonized with unique voices to make a distinct sound all their own. It was quite interesting and well done.

Graham Wright and the Good Times Band (Horseshoe Oct 28, 2011)

Graham Wright along with the backing three Good Times Band were in good spirits on this, their final night of a tour with the Library Voices. Thanking us for hating baseball (game 7 World Series), Chad Van Gaalen, Sheezer, Halloween and Death From Above 1979 they played fairly rocking renditions of the Tokyo Police Club's keyboardist's solo work, as he ran guitar and sang lead. The new album is much more band-oriented, as opposed to singer-songwriter of the first, and that was reflected live with rock songs. Soviet Race was the most familiar and it was given a stylized live sound that came across well. It wasn't earth shattering but a welcome warm up to the Library Voices.