Wednesday, December 5, 2012

Japandroids - Celebration Rock: (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Short and strong - Brian and David have made another powerhouse rawk album. Between the (literal) fireworks they do as they always seem to do - surge ahead with skin stretching drums and face melting guitar. They thrash through a mere 35 minutes of let-loose anthems, including the re-released Younger Us. Thankfully they didn't touch a thing on this their most nostalgic, and arguably the best, of a long line of singles. The album is complete with belt-em-out choruses that they became famous for with Post-Nothing, their first (and supposed to be only) full-length. "If they try to slow you down, tell 'em all to go to hell." Thank the gods of rock and roll for keeping the duo together to keep lighting this dynamite of pure energy into the Canadian scene.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Regina Spektor - What We Saw From the Cheap Seats: (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Regina Spektor has yet to miss and she isn't about to start on What We Saw from the Cheap Seats. The album showcases her skills in a variety of ways. Off the top there are a few plucky songs that are filled out nicely with a variety of instrumentation and even some well-used brass. Later on she gets to the sentimental piano ballads featuring her light fingers and poetic lyrics, as well as a few darker, more brooding - and effective - piano based songs too. All the Rowboats has a seriousness too it as well and it pulses through with foreboding background to the pointed piano lines - it really is a tremendous feat. Thankfully she closes out on a lighter note, employing her dynamic voice for effect on The Party with the phenomenal line "You're like a big parade through town. You leave such a mess, but you're so fun" before closing with light guitar and lyrics.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Purity Ring - Shrines: (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Yes, Purity Ring could be deemed an electronic act but they come across much softer, much more subdued and human than your typical electro sound. This without delving too deep into shoe-gaze  which recently has become so ethereal it can be a struggle to stay conscious. They have managed to sneak themselves into a creative middle ground; where other bands ding they ping, and where other bands crack they snap. Accompanying the music on the gibberish compound word titled songs (Fineshrine? Belispeak? Lofticries?) is a truly enjoyable female voice - another rarity in the genre, and even a male one as well to keeps things varied. When CBC Radio 3 first introduced them as the 25,000th artist on the website they seemed like a novelty act, however this full-length is chock full of tunes that blow that early dismissal away - Purity Ring are the real thing.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Sunday, December 2, 2012

Patrick Watson - Adventure in Your Own Backyard: (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Patrick Watson - Adventures in Your Own Backyard

When Mr. Patrick Watson, along with his standup band, previewed this album at Koerner Hall late last year it obviously wasn't just the beautiful venue that made it such a magnificent show. As promised by the title Watson takes us on a new journey within a familiar context by singing his uniquely excellent voice atop beautiful, lush arrangements. The strings are lovely, the guitar work great, the brass splendid, the piano requisite, and all of the other sometimes-unorthodox instruments find their home comfortably in your backyard as well. Lighthouse, Step Out for Awhile and Into Giants all build into bold and beautiful creations, while Morning Sheets hearkens to Beck's critically acclaimed (and personally acclaimed) Sea Change album in its stripped down sound and evocative violins alongside the downbeat guitar. When the quietly pretty instrumental The Things You Do transitions to Strange Crooked Road it makes the latter stand out so much more. Patrick Watson's Close to Paradise won the '07 Polaris Music Prize, whereas Adventures was merely long-listed which seems a travesty as over and over again the album brings fresh beauty with each play.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Wintersleep - Hello Hum (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

With Hello Hum Wintersleep have created a powerhouse record. Over a decade into their career this is some of the strongest work they have put out as a band. Featuring a number of strong songs that pull you along with them, offset by more downbeat but equally grabbing material, it is a band's album. Percussion plays a huge role as it tumbles along, both steadily and creatively at the same time - even the shaker is employed well as a driving force on songs like Resuscitate and Unzipper. The opener, Hum, has a je ne sais quoi that makes it play more of an introductory role than a standalone song and properly sets the scene for the journey ahead, starting with an amazing trifecta of In Came the Flood, Nothing is Anything and Resuscitate. Not only is the music suited to be electrifying live (as it is) but also stands its own as a record of note. Wintersleep may already have a strong back catalogue but here they prove they are not resting on their laurels but continuing to push their legacy - a legacy that upon future reflection will see this this record as a highlight.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Said The Whale - Little Mountain (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Said the Whale - Little Mountain

Little Mountains is an early 2012 release from the west coast that definitely caught my ear. There are a number of standouts on this album right off the top - Jesse, AR, We Are 1980, Loveless.  However repeated listens had these tunes set themselves apart but rarely did I go deep into the fifteen track affair. With 50% more songs than your standard indie album you'd think and hope to simply get more for your $9.99, when in fact the latter half seems slightly washed out, detracting from the full album's strength rather than adding to it. A solid effort with some absolutely worthwhile works but not worthy of end of year raving.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Saturday, December 1, 2012

Fun. - Some Nights (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Fun. - Some Nights
Sure this may be one of the biggest albums of the year. You may have heard the title track in the dentist office and the Janelle Monae tune from 4 of 5 passing cars but this does not take away from it. It is popular for the reason that it is a really listenable, relatable album that matches hooks with musical ability. Not only that but it is a whole album - from the intro through to the final song. Hell, even the bonus track isn't a throwaway by any means. Interesting to see if the tremendous success has any affect on their future releases. Since there needs to be a top 40 can we, the consumer, be sure to fill it with music of this calibre?

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Cold Specks - I Predict a Graceful Expulsion (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Cold Specks - I Predict a Graceful Expulsion
Where did this astounding voice come from? Nevermind, we should all just be thankful that she's here. Sure Al Spx had to floor some people overseas before drawing them back home to Canada to make a go of it. Now that we've had a chance to hear the amazingly untrained voice (at least professionally) there's no going back. On the album this instrument is put on full display, and rightly so, with sparse though creative instrumentation serving as a fitting backdrop. Each song is a lovely little present and when strung together serves as an ultimate gift. Best of all, with each listen it continues to give.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Tuesday, November 27, 2012

Jens Lekman - I Know What Love Isn't (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Jens Lekman - I Know What Love Isn't

Jens Lekman isn't about to take my advice. He doesn't want feedback and why should he? He has proven his musical acumen over the years and on I Know What Love Isn't he makes a case for musical genius. From the opening piano number that seems to set the scene but then doesn't, as the album quickly changes up. It goes on to include an air of adult contemporary with the sax - though he doesn't go full Kenny G on us like Destroyer did on last year's Kaputt. Amidst the varied and lovely instrumentation, keying on piano but also featuring violin and brushed percussion, he has no problem dropping lines without hesitation like "it's just some dirt on your shoulder" and "someone should make a pamphlet called 'So You Think You're in Love with Jennifer'". He even has the nerve to bookend it by titling both the opening and the closing tracks the exact same thing. You'd think the title track would be a morose, downbeat affair that tugs at the heartstrings but it rolls out with a surprising spring in its step, a tambourine and a xylophone. Apparently I am the one who doesn't know what music is, or is supposed to be. While bucking conventions Jens has included a number of faux pas and yet has still crafted a wonderfully textured record that takes a sly, offbeat approach to heartbreak that completely works. Kudos.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Evening Hymns - Spectral Dusk (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Evening Hymns - Spectral Dusk

Its use of sound, and even lack of sound, is majestic. It calmly draws you in, firmly plants you in place and in the most devastating, yet achingly lovely way carries you through its spectrum of music and emotion. Jonas Bonetta lays bare his innermost thoughts through his emotive lyrics, conveyed by his equally suggestive voice. Revolving around this one man's songwriting it's as if the expectations are for a bare, acoustic record but in reality it is quietly lush, as the production magnificently accomplishes a full sound even in the most somber and hushed moments. Powerful in the way that it can hold without needing to grab, and haunting how first the notes hang, and then the raw spirit behind it all lingers. Even the use of field recordings, as also heard on his previous album Spirit Guides, fits the intended aesthetic of the record beautifully. Gorgeous front to back, it does not rush and it seems only to improve upon repeated listening. 

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Saturday, November 17, 2012

Jeremy Fisher & Kalle Mattson: Canadian Songbook | Rivoli Nov 14/12

Kalle Mattson
Three minutes past the hour and the Rivoli was already seated in darkness, being entertained by the young musician on stage. Kalle (like the trendy chips) Mattson is definitely both of those things; a talented guitarist who writes vivid,  literal lyrics sung in his youthful voice with even some harmonica overlaid for good measure. On one song he began playing with his fingertips and then partway through plucked a pick from his guitar's neck to bring it home with some steady strumming. He indirectly revealed his age but everybody picked up on it and it helped to explain the somewhat limited vocals, especially when compared to his practiced songwriting. Even his calm demeanour worked well comically between songs in the attentive and quiet room. Without his normal backing band the spotlight was appropriately on the songwriting and his multitude of acoustic guitars. Already with some excellent work to his credit, including the standout In the Morning Light, one can't help but relish the potential seen here and eagerly await his more mature output.

Jeremy Fisher

If Kalle is the fresh face then he has Jeremy Fisher, with a number of albums and many more road kilometers under his belt, as a mentor. In fact, they have already collaborated on a song and here they were bringing a special show to Toronto together. Perhaps not a household name, Jeremy is still a seasoned veteran who knows how to handle a room, a battered old acoustic guitar, as well as a hook. 

Breezing through all sorts of songs, despite his minor ailments, Jeremy was a true entertainer judging by the overall engagement with the audience throughout, something that can be difficult for a solo guitarist on a stage. However he brought the stories of the songs home through charm and candor-laced banter that came before, after and even sometimes in the middle of the tunes. He has etched out his own folk-based sound but can also let loose on his strumming as displayed during On My Mind. When he started into Left Behind with its slow guitar picking it could have been mistaken as a tribute to Bob Dylan, who was playing that same evening up the street. Actually he did play a couple of the cover songs featured on his most recent Mint Julep effort, including the French-featuring I Lost My Baby. Another notable inclusion was the seamless descent from Scar that Never Heals into Paul Simon's Me and Julio Down by the Schoolyard complete with harmonica and whistling features. This was a presentation of the Canadian Songbook after all and the choice of performer was justified on The Bride is Dead, a song that is at times touchy, yet hilarious and even in some bizarre way, heartwarming. On a more wholesome and down-to-earth song he captures the allure of grandma's cold cellar with the literal and lovely Canned Goods.

Like a polished politician Jeremy treated this audience as if we were the most important thing to him and as a touring Canadian musician this is likely true and why it seemed so genuine. We ate from his hand as we sang along "this is freedom" and then heartily encouraged an encore which he seemed more than happy to provide. The loud, as well as the quiet, audience members all seemed satisfied with a dynamic final set of three songs. Jolene exhibited his quick fingers, while Lemon Meringue Pie strummed through with an honest and hooky chorus, while the Tetris Song worked an odd context in a lighthearted and revealing way, as only a skilled songwriter can. The encore, as with the entire evening, displayed Jeremy's dynamic approach to songs and songwriting - really making for an entertaining performance and one swell night.

Also played:
Cigarette
Let It Shine
High School
Built to Last

Upcoming in the Canadian Songbook Series

Belle Starr - Wednesday, December 12, 2012

Mo Kenney - Wednesday, February 13, 2013

Tanika Charles - Wednesday, March 13, 2013

Sunday, November 11, 2012

Royal Wood presents Glory in the Garden (Winter Garden Theatre, Nov 10/12)

The gorgeous Winter Garden Theatre, with its leaved ceiling and storied history, makes seeing just about anything (soft core) a special experience. Taking in a performance by one of Canada's premier crooners pulling from his entire catalogue with a full band is something else altogether - extra special. Royal Wood has a voice that is rich like Romney, smooth like sailing and so perfectly controlled that each live song could have taken hundreds of studio takes from any lesser singer.

In various degrees of formal wear, from the Save Ferris tee/jeans/sneakers/sports coat of the bassist right on up to Royal's vest and tie, the five entertainers for the night took their positions on stage. This bass player lives his life shoulder width apart, entertainingly rocking a power stance at almost all times. The guitarist got his licks in and the keyboard player also added flourishes from his xylophone, trumpet and horn while the drummer played his part well - especially with the quick clicks of his towel-covered drum on I'll Be Gone. But the price of admission was paid to watch Royal do his thing, or more accurately 'things', as he seems nearly as proficient with an acoustic guitar as he is seated at the piano. As it is the We Were Born To Glory tour this well-received album was naturally strongly represented in the set list (including I Want Your Love, The Thick of It, great Not Giving Up) and met with audience approval. However Royal knows his audience and understands that they crave cuts from his previous releases also. Much-clamoured-for I'm So Glad was featured in a special arrangement with Royal up front on acoustic while the keyboardist took over light piano duties and the other three surrounded a communal microphone for backing vocals. Alongside this was a solid list of others like Juliet and go-to Lady in White.

Mr. Wood commands attention by his sheer presence and was engaging with his banter though relied on goading us into interaction by comparing us to other cities, however he later gave us the line that we were a tour highlight. It was a rather subdued crowd that wasn't for lack of appreciation but rather rapt, respective attention in the beautiful settings of this concert hall. The latest album does have a fair amount of upbeat numbers that rock more than previous releases, especially when brought to life with a full band, so there were a few clap alongs as they amped it up.

Nearing the end of the evening Royal introduced the rumoured special guest as the only person he could hear singing with him as he brought out his lovely wife, Sarah Slean, to use her operatic voice in album-closer The Glory. Shortly thereafter, having concluded A Mirror Without the entire band left the stage as a slight surprise due to this somewhat unexpected set closer. Naturally it wouldn't be the final note to send us off with as a partial standing ovation had them return. Absolute highlight of the night was Royal's piano brooding on Acting Crazy (It's a Breakdown) that opened the encore and was simply stunning. Tough to follow he did valiantly with The Waiting's Do You Recall from which they collectively took their bow to a higher buy-in standing O. Leaving the nature versus nurture debate aside, the We Were Born To Glory tour was propelled to glorious heights for this charming concert.

Elisapie

The punctual in the audience were treated to an opening act worth arriving on time for as Elisapie Isaac performed with her two male backing francophone musicians. Her tassled high heels and rambling banter may not have been top notch but that's not too bad considering those are the only negatives to the set. Her voice is strong and she is self-assured singing both French and somewhat straightforward English lyrics, as her spoken accent all but disappears from her singing voice. Elisapie herself did not play an instrument, barring the melodica on one song, leaving that up to her comrades. They did a mighty fine job of keeping it interesting as in addition to their handheld instruments (guitar, drum) both used their feet for percussion including more than just a kick drum - tambo tapping, mic'ed guitar-case stomping as well. Considering they were only three musicians in a large, semi-filled room they nicely filled it with pleasing sound. Elisapie played her 'hit' Out of Desperation last which was a nice touch of familiarity that resounded within the Winter Garden.

Saturday, November 10, 2012

Strumbellas, Tom Fun Orchestra, Olenka (Horseshoe Nov 10/12)

The Strumbellas
The billing may not have had The Strumbellas headlining this evening but riding an ever-growing wave of appreciation they shone as beloved hometown favourites with their middle-of-three set. The joy that the six of them bring to playing their instruments is infectious and causes people not just to tap their foot along but to stomp it vigorously! Lead singer, Simon Ward, mentioned something about attracting the younger audience by dressing for them which seemed to have meant glasses with flippable lenses and after a song or two stripping down to just a small vest over his bare chest. This was just one of his many outlandish proclamations which were somewhat tempered by Isabel Ritchie's more humble remarks into the mic when she wasn't madly fiddling (she's the violinist). As in shows previous many of the members were barefoot on stage which seems to further enable the jovial dancing that they seem to partake in all over the stage. As mentioned, this extended into the audience in one of the better Horseshoe responses I have seen in quite some time. In fact the reaction was so strong that following their all-too-short set the persistence of the chanting despite the house music and lights prompted them to return for an unprecedented second-set encore. New material from them is an exciting prospect, especially based on the strength of the brand new song they debuted, Home Sweet Home. With more material they could have played their time over all again and there wouldn't have been a complaint from anybody.

Tom Fun Orchestra

It has been a long while since much word out of the Tom Fun camp but here the purveyors of kitchen party merriment were, in support of their to-be-released Earthworm Heart. Lead by the gruff voiced Ian MacDougall (hate to break it to you, but there is no such thing as Tom Fun) the seven of them packed the stage with accordion, trumpet, banjo, acoustic, electric, bass and drums. Naturally playing primarily new material, there was no Rum & Tequila, the reaction wasn't as immediate as it may have been with known older material but the band did their best to keep the energy levels high anyhow. One song had an instrumental breakdown through which the trumpet was dragged up and down the electric guitar's strings. Akin to the Strumbellas before them the members could be seen traipsing around the stage interacting with each other throughout, keeping it fresh. Another tune seemed to sample all sorts of things including Queen and even 'Ok, Blue Jays' - odd but fun nonetheless. It was altogether enjoyable and despite already playing a half-encore ("this is our last song", slight pause, "okay we'll play another") they too were cheered on to actually return to the stage for another number following an extended, music-on delay again. Worth it.

Olenka Krakus
It must be the off-season for Olenka Krakus' band, The Autumn Lovers, as she took to the stage with just her acoustic guitar as the first opener of the evening. Seeming quite collected to be so naked in a large and mostly empty room she engaged the audience with her well-spoken banter. This also translated to her songwriting. Not only were the words appreciated but her singing voice that carried them also had its strength. The character of the songs varied, as some had a noticeable twang to accompany that in the guitar and others had an indie folk feel (that may have been better fleshed out with the band) and even a couple quieter acoustic, singer-songwriter numbers. A wonderfully stripped down version of The BossI'm On Fire added to this variance, as did the harmonica accompaniment on Flash in the Pan. Olenka had done very well with her simple set in this large room and following the closing notes of Only Yours she thanked us again as we showed our appreciation for an effective opening set.

Monday, November 5, 2012

Sheezer Post-Halloween (Lee's Palace, Nov 2/12)

Unlike the Dwayne Gretzky halloween show this post-Halloween concert didn't have much buy-in on the costume front. Hard to do anything after the fact. However the bands did get in the spirit as the four members of Sheezer decked themselves in Kiss make-up and costume, with Laura Barrett even rocking some mechanical wings. I'm not sure if it's a testament to Weezer, who the band obviously covers, or people's taste as they only cover the Blue and Pink.. albums, or Toronto fans loving their own - regardless of the reason it was amazing to see Lee's Palace damn-near capacity, having sold out of pre-sale tickets for the gig. Opening with Tired of Sex and then blasting through a fine number of tracks from these beloved early albums it was a joyous atmosphere with much singing along as the ladies themselves played the music pretty accurately. Three of the four of them swapped out Rivers' vocals as well, not that it mattered as there were passionate singalongs to most of the tunes anyhow - especially Buddy Holly, El Scorcho, and Undone (The Sweater Song). 

To commend those who did bother to dress up they were invited onstage to give the opening conversation of Undone and this quickly spiralled into a fan-stage party which was fun to see also. In the end they may have given away the hits a little early during the main set leaving a couple B-sides (Susanne included) and Only In Dreams for the end of the night but regardless of ending on slightly less than a high, it was a super fun night.

On a personal note Undone was the song that won me access to the gig as I wrote in to declare it as my favourite:
"Undone (the sweater song) because I discovered it WAY back when on some Spin magazine giveaway mix CD and loved how unique it felt, from the intro conversations through to the music as well as the semi silly, yet easy to envision lyrics. Still a Weezer classic and a fan favourite!" Thanks Exclaim!

Planet Creature opened in matching blonde wigs - though I'm not sure exactly who they were going for. It was pretty basic punk influenced rock that truthfully wasn't very good.

Dwayne Gretzky's Halloween Party (Horseshoe, Oct 31/12)

Dwayne Gretzky threw a helluva costume party on Halloween night in Toronto. The vast majority of concert-goers were decked out from giraffes to zombie doctors to Cats in Hats and oh-so-much more. Regardless of dress people danced hard (and seemingly, to sober me anyhow, drank hard too) to Dwayne's beloved mix of oldies and semi-oldies covered live. Included in the oldies were Chain Gang (Sam Cooke), Let Me Roll It (Wings), Be My Baby (Ronettes) and personal favourite Pump It Up (Costello), while relatively more recent releases were Just a Girl (No Doubt) and No Diggity (Blackstreet). The beauty of the band is that they cover a wide variety and have a lot of fun with it while maintaining the songs' integrity. Further diversifying the set were some themed songs including Psycho Killer (Talking Heads) and Thriller (MJ) to bookend the first set, and the inescapable Monster Mash (by whoever.. one of the dumbest songs ever recorded according to Elvis). With about seven on-stage members and a handful of guest vocalists they went all-out and partied all night long.


Nicholas Double You and the B Squad got to open the Halloween festivities. A fairly run-of-the-mill 5-piece indie rock band with a seemingly blindfolded female drummer they went through the motions of doing everything right but just couldn't translate. Even their guest female singer didn't pick it up much. At one point the crowd, who were there for a fun time, played along by all going down to a knee as requested, but there was no Pop to bring us up. The Halloween balloons popped some entertainment into the crowd momentarily too but overall they couldn't quite get it going.

Thursday, November 1, 2012

Hillside Saturday Day - ALX, Imaginary Cities + (July 28/12)

Birds of Chicago/Open Hearts Society workshop
Birds of Chicago were already back to warm more hearts. Technically a Chicago band they have Canadian roots that brought them to Hillside. First though were the Open Hearts Society and their female vocalist plus a new guy on electric guitar. The lady bird was flashy in her orange dress and large hair while her male counterpart played an acoustic. As a throwback to their roots in the 90's alternative band they pulled out a countrified version of.. no not their hit Two Princes but another gem in Little Miss Can't Be Wrong. Fun thing to do in a workshop and a fun thing to see for nostalgia sake.

Deep Dark Woods/Wooden Sky workshop
Forest in the Sky was not only made for the fantastic mash-up title but also because the two bands paired quite well. Both the Deep Dark Woods (forest) and The Wooden Sky (sky) were hairy creatures who combined on a Willie Nelson tune, complete with banjo and a country feel despite the keys. I'd skipped DDW the previous night in favour of the Arkells and considering I didn't really recognize or get that into any of the songs, I stand by my decision.

Arkells/Bright Light Social Hour workshop
Since Deep Dark Woods weren't quite doing it and the Arkells had the night before I went over to give them another try. Again Aaron Goldstein (who they introduced as a member of City and Colour as well as the Cowboy Junkies) joined them and again they did the Dylan with The Band cover "because it was so much fun last night!" The vocalists swapped from verse to verse which kept it fresh. All together they performed a Neil Young song and then I Need Your Love, another cover and why not? It is a workshop after all.

Hillside Sunday Afternoon - Badbadnotgood, Strumbellas+ (July 29/12)


Ah, the Strumbellas! What a shot in the arm they were to kickstart this Sunday afternoon. Entirely barefoot they stomped and yelped through a rollicking set of folk-tinged bangers. Off the top they were slightly subdued but a couple tracks in they hit their stride and the energy became infections and had the crowd swiftly on their feet. A Lake Stage sand storm ensued as we spun and clapped along and even welcomed the tilly-hatted, bespectacled, bearded lead into our midst. Once back onstage alongside his heavy-footed keyboardist they amped it up on The Sheriff and others. They even went so far as to bodycheck each other, sending the singer sprawling into a stack of gear from which he popped back by pushing off an acoustic guitar in the pile...*inhales sharply*... tough to watch. The band however was not at all difficult to take in; in fact it was a joyous experience, just as I'd hoped!

While enjoying an early afternoon dip in the lake the music of Alanna Gurr drifted out to the beach. I was surprised at the amount that I recognized and found it to be quite a nice swimming accompaniment.

Sure there'd been some hype but BADBADNOTGOOD still stole the show with their jazzy take on modern music. These young fellas are doing something that seems so utterly fresh and yet damn polished, it's thrilling to watch. People crowded around as the three confident, yet modest Humber students reimagined popular tracks into fresh-baked goodness. They dropped a number of recognizable riffs and beats into modern mashups that got the crowd (Rich Aucoin included) really into the set. Somehow the drummer played a couple of songs from behind a pig mask while the bass player and keyboardist didn't resort to such gimmicks but just laid it on like peanut butter, smooth and thick. Their take on Feist's Limit To Your Love was a solid way to introduce what they were going to do and once we 'got it' the deep bass lines of Kanye's Flashing Lights were an amazing way to have us all jump in unison. If ever there was an opportunity for a 4pm encore at Hillside this was it (with a stage break next) but sadly the stage manager was too intent on his break and nixed it in the bud. Shit, that was something though.

There's this weird thing with The Wooden Sky where I like the odd song that I hear by them and people around me love them but for whatever reason, whether it is recorded or live, they haven't burst through from 'like' to 'love' for me. This sunny afternoon saw them playing the main stage and I managed to catch the end of the set which again was good but didn't put me over the edge despite playing some good tunes in The Late King Henry and Oh My God. Maybe one day it'll click.

A nifty little workshop out back at the Sun Stage that started out with a cover from The Strumbellas followed up by the Chic Gamine chicks really lovely harmonies. Afie came up next in his wide-brimmed hat for an original featuring great additional violin from the Strumbellas as well as some back-up ooos from a couple ladies of his own (and prompted a couple more from the ladies in the crowd). They went around again and the singer from the Strumbellas sat on the stage's edge for an acoustic picking song. CG did the silence song which was a capella barring the drums.








Finally all of these wonderful artists combined forces on Bahamas' suggestion - and who is the uniting artist that everyone is always game to cover? Tom Petty, of course; You Don't Know How It Feels! This got the ball rolling straight into the oft-covered itself, Blue Moon of Kentucky, before closing out with the Canadian equivalent to Tom Petty in the go-to cover category - Neil Young and in this case, Harvest Moon. That's the spirit.

Ohbijou was rammed and their sets always make me a little sleepy, so to combat that I skipped watching and just listened to them as a backdrop while re-energizing with Feng's Dumplings.

Hillside Sunday Morning - Wooden Sky, Ohbijou, Memoryhouse+ (July 29/12)

Yes it was the Gospel Hour first thing Sunday at Hillside but many people found themselves in the school of The Wooden Sky, perennial workshop favourites, who were blessed with the angelic presence of Ohbijou. A workshop should be fun and interactive and that's exactly what was delivered as both bands collaborated, mixing the cut-off shirted guitars and banjo of The Wooden Sky with the female cello, violin (and trumpet) of Ohbijou. What beaver-loving Canadian doesn't love The Hip? Little Bobcaygeon got things going and rolled onwards with You've Really Got A Hold on Me (Smokey Robinson). The epic height difference between the bands was rather amusing yet their musical styles lined up well enough for a very appropriate '60s feel on Carole King's Will You Love Me Tomorrow. Now the Wooden Sky did indulge in a song of their own - however it was the first time they'd ever played it for an audience so still a proper use of a workshop. Future Hillside bands, please take note - this is how to throw a workshop!

Following that uplifting beginning to the day the true Gospel Hour beckoned just in time to catch a tune
that had most on stage (Be Good Tanyas, Birds of Chicago, Elephant Revival), as well as most in the bursting Island tent, "wade into the water". The hatted ladies in the front of the crowd first started getting into it and then everyone joined in. There were even solos; trumpet, keyboard and a washboard solo. Raise your voice!

Having toured together one would hope that the Great Lake Swimmers and Cold Specks would have enough familiarity with each other's material to collaborate on it. Unfortunately this did not seem to be the case as the few songs from both that were caught during their workshop saw them simply swapping back and for. Cold Specks did perform When the City Lights Dim which saw the GLS crew backing her up.

Memoryhouse and Imaginary Cities both make some very pretty music but there was no synergy here. Even worse than the track for track stylings of most poor workshops they simply split the timeslot in half with Memoryhouse checking in first used a drum board to play a few tunes including a cover. The male member understandable stayed seated to play his acoustic guitar as he'd have worked up a sweat moving around in that heavy sweater in the July heat. The drummer's percussion was subdued by his soft tipped sticks and also employed a shaker. Taking over Imaginary Cities played three songs of their own, nice but not even reaching heights from their full set on Saturday, leaving not much new to remark.

Hillside Saturday Late- Rich Aucoin, Elliott Brood (July 28/12)

Elliott Brood

With Elliott Brood I have had some magnificent concert experiences, ahem Vancouver Olympics, small Club Vinyl Guelph, but most recently a sub par show at the Phoenix in Toronto. Prior to their set I'd allowed the most recent memory to cloud my judgement and had decided to branch out and skip their set. However as things at Hillside changed on the fly I was able to come over for the last few tracks and, boy, was I glad that I did. Their music is so upbeat and just asking for people to clap, bang and dance along that when that doesn't happen (looking at you Toronto) an entirely important aspect of the experience is notably missing. At Hillside one needn't worry about whether people will dance though so I found myself swept up in the Elliott Brood swirl that was already underway. Unfortunately I apparently missed the flash-mob that broke out earlier, and didn't have a pot or a pan to bash on but that all would have just been gravy. A good time, not a long time, as I managed to shimmy to a few favourites including Valley Town and a joyous rendition of Miss You Now. The latter finally went off after speedily troubleshooting and replacing a wonky amp right before the final song. Whatta time!

Zeus
The tradeoff in staying til the very end of Elliott Brood was a lack of sightlines from the back corner picnic bench of the Island Tent for Zeus. It's not so much their visual antics as their revved up throwback sound that their show is about anyhow. That meant only catching glimpses of them shredding Marching Through Your Head and The Renegade, while not ideal, wasn't the greatest loss either.

Rich Aucoin
What do you get when you insert Canada's premier party-starter in Rich Aucoin into the biggest party night of Canada's premier festival? You get all of the following, plus so many more intangibles that I'm sure to have forgotten (and probably couldn't even put into words anyhow).

To begin with, the word was out and the tent was utterly crammed with partygoers excitedly bouncing beach balls in anticipation while the tech crew hurriedly set up for the final set of the night. Finally it got underway and it appeared like a shoddily built tower of cards with a video projector on top but somehow we got through the entire intro video without too many blackouts. The video, as always, featured a number of chopped up youtube sensation videos as well uplifting and hilarious thank-yous and shout-outs, including one to yours truly the "official Hillside weatherman" (a nod to a tweet from earlier in the day). This was all done in full darkness, and finally after the extended setup and then the intro vid, when the lights came up and the music started all of that pent up energy exploded into a swaying, frothing sea of humans. What songs did he play? Who played which instrument? These are inconsequential details when the fact of the matter is that it was sheer excitement and fun throughout the altogether too short closing set. Rich himself did some crowd surfing, set off heaps of confetti bombs, climbed one of the tent poles and generally hyped up an already hyper audience. And yes, the signature parachute did make its appearance! Unfortunately it was far too small to physically contain everyone in attendance but it stretched just far enough for me to be on the edge of it, and the childlike joy that it brought permeated the whole tent. As the song goes "we can't leave It all in our heads" and we didn't, as we absolutely went off, leaving it all on the floor and marching off into the night with exuberance!

Hillside Sunday Eve - Cold Specks, Joel Plaskett+ (July 29/12)


I Predict a Graceful Expulsion is a beautiful record based primarily on the lovely voice of the young Al Spx. Performing under the Cold Specks moniker she put that voice on display as she opened a Capella, but for much of the rest of the set was backed by a couple of competent Englishmen and a Winnipegger (electric guitar, keyboard and drum, plus her own electric). There had been some well-deserved buzz about this artist and this was reflected in the tent turnout. Unfortunately for any fans not yet indoctrinated to the church of Specks it must not have been quite as captivating and resulted in an audible buzz of conversation overtop of some of the quieter songs (a pity). Naturally drawing much of her material from the debut album she did it justice and even included a few non-album cuts as well. With about two minutes to spare at the end of the set Al delivered an astounding unaccompanied old standard that just about floored me. Raw talent was on display.


A surprisingly small crowd greeted Memoryhouse considering they are locals AND they had a positive review on Pitchfork. Perhaps that's the snapback from not touring locally or being overtly involved in the Guelph scene? Regardless the two primary members persisted, Denise on keys and obviously lead vocals, and Evan seated with his acoustic, accompanied by a live drummer. Akin to Beach House, the music (especially that from the early EPs) is more suited to headphones in a lonely bedroom than being played live, especially at a festival. Not varying much from their workshop earlier in the day they played a couple of the same songs, even the same obscure cover that is a sonic departure for them, and didn't really make a connection either way with the audience.







Half Moon Run were slightly better dressed than the schmucks they looked like last time around, they wore simple jeans and tees while engaging the crowd. Their show works in part because of its dynamism as they are constantly swapping instruments in and out and between each other on nearly every song. The group featured as many as three drummers during their set this Hillside. Even the sound varies, including a supreme R&B groove on one of the newer songs that really hit the spot. Reception was solid and it's great to see this band continue on their upward trajectory.

Having seen Great Lake Swimmers a number of times, even on this very stage, it wasn't that high on the objective list to spend another few sleepy songs in the grass. That being said Your Rocky Spine is a stellar tune, especially keying on the lyrics, and it's always a treat to catch that, even in passing.

Having built and built their reputation from exceptional performances in their workshops over the weekend it was finally time for the Birds of Chicago to showcase their wares all on their own. Playing to a tent full of mostly new converts this part primarily American (Chicago) band, with ties to Canada, put on a show living up to the bar that they had set for themselves. From the few songs that I did catch it seemed that they were putting a lot into it and getting a lot back from the crowd, even on their non-English language track. It wouldn't be a surprise to see this band returning in the coming years as audience and band alike seemed to thoroughly enjoy the interaction.

The Slakadeliqs came in with some hype behind their recent release having garnered all sorts of accolades for its genre busting sounds despite consisting of a fairly standard four piece configuration, drum, acoustic, electric and bass. The crowd was fairly meager being up against some strong names on the other stages but they did their best to amp it up in the Island Tent regardless. There's a definite groove to their music that carries them along.

As disappointing as it was for Joel Plaskett to miss a couple of workshops earlier in the weekend (imagine the songwriting ability coupled with Tony Dekker and Bry Webb??) it was worth it as the extra couple of days of rest allowed Joel to come out very strong for the main stage weekend ending set. Not only was his definitive voice there and strong but he was his engaging self, putting on a show like the showman he is, including a moonwalk-like slide to cover the stage. Opening with classic Down at the Khyber he mixed old with new, slow (particularly Heartless, Heartless, Heartless) while putting some emphasis on the surprisingly strong recent release, Scrappy Happiness, considering the self-imposed song per week time constraints put on the writing and recording. Lightning Bolt seemed particularly appropriate not only because of the threatening thunderstorm but also the lyric "I was sick but now I'm cured". Following a set that met and exceeded Joel Plaskett set requirements he settled in and had some fun with us. There was the singsong of "Rain, rain go away", a little April Wine, and then some doo-a-ditty into Work Out Fine. This last one saw him dancing himself to the ground only to catch a glimpse and be mesmerized by the moon for a minute or so (from his back, on the stage). A consummate professional he knew how to close a set with the the Joel Plaskett song in many people's minds - Nowhere with You - and finally his eccentric live rendition of Exraordinary. Encore! Encore! And so he did, persisting with Harbour Boys with just our clapping as he dealt with a broken string only to come back strong and rock out the ending. Putting a nice cap on the evening, the weekend and another fabulous Hillside was Come on Teacher, complete with a Hillside referencing freestyle. Oh Joel.

Wednesday, October 31, 2012

Billy Talent, Indian Handcrafts (Horseshoe, Oct 30/12)

It isn't uncommon to see members of Billy Talent at the Horseshoe Tavern (Ian D'Sa is there regularly) but it is uncommon to see them all onstage unleashing their monstrous live show upon the masses. And there were masses!, as the damn-near capacity iconic Toronto institution celebrated its 19th season of New Music Night with this special guest performance. BT fans young and old alike were represented and none
could be disappointed in seeing these well-traveled hometown rockers lay it on the line for their neighbours.

Song selections appeased most everyone as well, bringing back memories of yesteryear as the first half was heavy with well-known tracks from their early years in Devil in a Midnight Mass and This Suffering. That being said, the new generation, who may have been somewhat late to the party on these now decade-plus running rockers, also seemed more than happy to mosh out to new tracks like Viking Death March from their latest release and even started a large pit off to the side on Saint Veronica - that is until security stepped in to put the kibosh on it. There wasn't much they could do about the steady stream of crowd-surfers floating their way on stage all night though.

Regardless of the songs the talent, pardon the pun, of these four dudes is readily apparent. Aaron's hard-hitting drums keep time for Jon's thick bass lines as Ian, the birthday-boy, D'sa's guitar punches through and Ben lays his slick vocals over it all. Ben is ultimately engaging and the rabid crowd happily shouted along to their signature call and responses throughout, but especially on set closer Devil on my Shoulder.

Not quite satisfied with one strong (and free) set from the boys, an encore was demanded and rewarded with Fallen Leaves, Surprise Surprise, and the anthemic Red Flag closed it all down in style. All the thanks to the band for taking a day from their one week away from touring to put on such a blistering set for their Toronto brethren!

Indian Handcrafts
A duo in the long tradition of duos featuring aggressive drumming and guitar work, Indian Handcraft made a whole bunch of noise while interchanging their singer. They played presumably from their just-released-that-day album, featuring some Rage (RATM) level riffs. It wasn't bad and they certainly benefited from the oversized crowd awaiting Billy Talent who seemed to appreciate this quite well.

Monday, October 29, 2012

Bruce Springsteen (Skydome, Aug 24/12)


A gorgeous summer Friday evening in Toronto was made infinitely better by The Boss. With an open Skydome and Toronto's notable structure standing tall over us Bruce Springsteen entertained all night long. In fact he took to the stage sans opener while the sun was still up and just kicked it well into the dark until the lights came up and the real dancing started up. Much has been said of his age and his endurance; it is downright inspiring that he can be on for so long, both in terms of years and hours. Obviously comes from a strong determination and work ethic, coupled with his earnest desire to put on a spectacle. Boy, did he ever!

Kicking off with summertime songs, Bruce led his group of 14 musicians up and down his catalog drawing on classics like Rosalita all the way to this year's Wrecking Ball in the form of We Take Care of Our Own. All the while running (seemingly in slow motion, but still running) from one end of his football-field spanning stage to the other, and back again. Absolute charisma as he stole signs (okay collected them to create a set list), high fived, sang to, danced with and engaged with the audience - even us in the first row of the cheap seats. At one end of the stage he chugged someone's ($13) beer, spilling most of it on the surely ecstatic person in the front row, while at the other he lifted a young girl up on stage to steal the show by belting out his lyrics without hesitation. In the middle he engaged another woman with an onstage dance, granting her husband's wish (as stated by his sign) of having Bruce dance with his wife for their anniversary. It is these kind of off-the-cuff moments that take a stadium rock show from music to magic.

The aforementioned band were solid and as tight as Bruce demands of them, even including some choreographed dance moves into some of the song. Amongst the accordion, guitars and brass was the nephew of recently departed Clarence, filling the sax solos. There was also a moving video tribute played to Clarence later in the evening. Another song saw the band dismissed and Bruce himself sat down to the piano to play us a tune solo. But just as the quiet moments hit, so could the loud ones, such as Thunder Road, which would prompt the ringleader to do things like huck his guitar across the stage to his tech who expertly caught it.

As the lights began to come on the show hit its stride and it felt like a culmination was coming. However the conclusion kept being pushed off and the energy grew and grew. Upbeat songs like Badlands lead to epics like Land of Hope and Dreams that all carried on, ever-building, seemingly to the point of exhaustion (as Springsteen completed a full lap of the audience on the floor) before crashing to an end. Surely, this is the end, would be everyone's thought until two beats later he'd rev it right back up again. I'm not sure that he left the stage, or even stood still, throughout the entire thing. There were no specific encores but Dancing in the Dark, Tenth Avenue Freeze Out, even a version of Twist and Shout all had the energy of finales and had 50,000+ fans dancing in the aisles throughout the stadium. After revving it back up over and over again he finally laid it all down for a splendid Glory Days and somehow still leaving the crowd wanting more he was whisked into the fleet of waiting SUVs and we were left with an entire night full of rocking memories.

Setlist:
Working on the Highway
Hungry Heart
Sherry Darling
We Take Care of Our Own
Wrecking Ball
Death to My Hometown
My City of Ruins
Spirit in the Night
Thundercrack
Jack of All Trades
Murder Incorporated
Prove It All Night
Candy’s Room
She’s the One
(Mona Snippet)
Darlington County
Shackled and Drawn
Waitin’ on a Sunny Day
Incident on 57th Street
The Rising
Badlands
Land of Hope and Dreams

We Are Alive
Thunder Road
Born to Run
Rosalita (Come Out Tonight)
Dancing in the Dark
Tenth Avenue Freeze-Out
Twist and Shout
Glory Days

Saturday, October 27, 2012

Bry Webb (Live in the Stacks, Parkdale Library, Oct 26/12)

It was a splendid turnout for the first Live in the Stacks! of the season, and why not? with the calibre of talent provided by Bry Webb. Best known as the leader of the beloved Canadian rock group The Constantines, Bry has found his softer side on last year's Provider which has met critical acclaim. Many songs from that album, including Rivers of Gold, were featured from the darkened corner of the Parkdale library on this rainy, pre-Halloween night. Lit only by candles Bry strummed his guitar, primarily acoustic, backed by Mike on slide guitar, and a fellow on the stand up bass. They played the somewhat noir, brooding music beautifully to a silent and appreciative audience (it was the library after all). There were a few electric guitar songs as well, as Bry even remarked on his use of feedback in a library, among other library themed jokes. (Late fines and inappropriateness amongst the books provide so much fodder.)  Featuring a Fugs cover early, as well as Neil Young later on, there was even a stellar to-be-released Bry original added to the mix. Second from closing was Ex-Punks which hit slightly harder than the rest, due to familiarity and energy and was a definite highlight. Distanced from The Constantines by a long range now, Bry has proven that he still has much to say with his wonderful prose and excellent songwriting, even below 11 on the volume dial.

Dan Mangan, Rural Alberta Advantage (Danforth Music Hall, Oct 25/12)

Dan Mangan
DSC_0005.jpgKicking off with the new single from the Radicals EP surprised me slightly but I quickly came around to We Want To Be Pleasantly Surprised, Not Expectedly Let Down. It even descended into the disparate instruments jamming away before melding right back together straight into the other mouthful of a song title About As Helpful As You Can Be, Without Being Any Help at All, signalled by that telltale violin opening. Following Oh, Fortune's title track the first Nice, Nice track, Sold, was met with very enthusiastic crowd support. Next was an intro about the minuteness of human existence in history before Dan dropped Leaves, Trees, Forests with a mini interlude (well more of a pregnant pause). 

DSC_0008.jpgFrom the always impressive whistle showcase by 'Mr. Kenton Lowen on the drums' on If I am Dead they absolutely crashed right on into Post War Blues. What a fantastic song given a righteous live treatment as the keys and violin plucking fill it out beautifully. From this high, after which the band appeared momentarily physically exhausted, Dan almost had no choice but to give them leave and give us the wonderful solo rendition of Basket. The Dan Mangan Band returned for Starts with Them, Ends with Us that may as well have been titled "Starts with Them, Ends with Triumph" based on the feeling portrayed by the onstage band in its closing. They had no problem with classic Road Regrets, nor the quintessential Dan Mangan song Robots, that saw the author crowdsurfing as we belted out the refrain. Rows of Houses is an amazing song and the band did it justice, especially as Dan and Kenton had a standoff with Dan signalling all of "my hype man, K-dizzle"'s drum crashes.Mr. Mangan led us through Death and Dying before the final number, Jeopardy. Not only is this a well written song but it was cute that a group in the audience answered the majority of his questions (far enough away from me to be cute and not annoying) and then the band absolutely rocked out the ending of it. The crashing of this set was fantastic and essentially guaranteed an encore. 

Back out solo, Dan played The Indie Queens are Waiting before reintroducing the band. But not exactly everyone as in true rockstar form Kenton came running in just before the drumming in Tina's Glorious Comeback, smoke from his lit cigarette streaming behind his bottle of booze. It didn't affect the quality of the song however as they brought it down. In finale Dan obviously knew what he wanted to do.. Hauling a chair into the middle of the crowd he requested that as much as we love the internet we put down our phones and raise our voices instead. So from this lofty position he lead us in Postcards'.. So Much For Everyone. This may have been the best crowd participation I've ever seen for this song as 1500 voices joined Dan's in singing to the heavens. Gorgeous.

The Rural Alberta Advantage
The RAA have been at it a long while; working shows to gain fans. With the release of their first album Hometowns the fruits of their labours were reaped, gaining much critical adoration and blog praise. As they continued to slug it out, releasing their second album Departing (more of a continuation than a departure) their already won-over fans couldn't be overly disappointed but it seemed as if they had plateaued. Now a year or so following that release they continue their hardworking tour efforts, still as openers though, not headliners. That being said it was a massive hometown crowd who knew to arrive early for this rockin' folk trio. By this point most songs from the two albums are tried and true 'classics'. Lucky for the devoted fan there were a few new pieces to provide some variation, such as the new Love on the Rocks track. It was an upbeat acoustic number, ending, as so many RAA songs do, with everything falling away but Nils' voice and light acoustic strumming. The other new track (only played live on this tour, so third time ever), coming later in the set, had a wicked drum beat provided by Paul, and once again ended on a Nils acoustic note.

In a decently long 70 minute opening set there were a lot of solid moments (solo Nils' Littlest Hobo not included). These included the yelling on Frank, AB as Nils doesn't strum but pounds on the body of his acoustic guitar. Summertime was lovely as always, especially when Amy pipes up on the last few lines. A personal fave is Four Night Rider that always seems to hit its mark in the short time it is allotted. While the crowd wasn't outwardly excited they did get into the closing sequence of Deathbridge, North Star, the rocking Barnes' Yard and finally the well-known Stamp. Another very good performance in their long line of performances, though it would have been more rock and roll if Nils had smashed his guitar when it got unplugged seconds before the end of the set, instead of plugging it back in.

Wednesday, October 24, 2012

Elliott Brood, Wintersleep (Danforth Music Hall, Oct 21/12)


Elliott Brood
With popcorn on the brain, from the classic red and white striped Elliott Brood signage and white draped backdrop to the scent in the air at the Danforth Music Hall, the scene was set for a show. The trio delivered in fine fashion as all the props helped to fill out the stage. It had all the great things an EB show should have - banjo, harmonica (Without Again), filthy, seated guitar playing (If I Get Old) and heaps of shout-it-out, clap-along tunes. There were also a few additional oddities in The Banjo Song and an old kazoo "standard" Old Dan Tucker. It seemed to only improve as the show progressed, from early-on Northern Air through Valley Town, Ambassador and the crowd-favourite Oh Alberta. What else would wrap this opening act than Miss You Noooooooooooooow?!

Wintersleep
Yes, I've seen Wintersleep a lot lately - and yes they are worth it every time. Some extra production seemed to have gone into this tour too as Elliott Brood's stage was dismantled and replaced by the lighting system and two cool, large Hello Hum cover-esque stands that appeared to be translucent fogged and etched glass boxes (but were more likely wooden with neat lighting). Not only the stage and lighting but the show opened with a projected video before the five of them took to the stage with amazing album opener Hum. The set list wasn't all that different from previous shows but the musicianship was just as high, so to see amazing music performed live by skilled musicians is still a treat. 
Highlights: That ending on Resuscitate just floors ya. The reverb on Smoke once it finally drops sounds so great live. Oblivion! Closing a set with Laser Beams and then Miasmal and the Yellow Bellied Freaks doesn't get much better. Still having Dead Letter and the Infinite Yes in the tank as part of the two-song encore (with Nerves Normal, Breath Normal.)
They were inundated with requests from the audience and although they couldn't get to them all promised to be back real soon. Not a problem with me - I'll gladly do it again!

Other tunes: In Came the Flood, Jaws of Life, Archaeologists, Nothing is Anything, Weighty Ghost

Wednesday, October 17, 2012

Rush (ACC, Oct 16/12)

Only a couple years removed from their last tour, Snakes and Arrows, Toronto's favourite three-piece were back to rock the ACC. Geddy welcomed us as his neighbours not just in words but with a nearly three hour show. Despite shying from the bigger hits, and definitely shining a spotlight on the new album, I doubt there was anyone in attendance who was disappointed in the spectacle. And spectacle it was! From the top the trio came out playing The Suburbs and carried on with Big Money, exhibiting not only Geddy's signature squeal but  some dandy work on the keys as well. Personally I found the remaining stretch of the opening act the weakest part of the night but that's probably just my ignorance of the deeper cuts they played. There was still plenty to take in as the contraptions on stage, a steaming, popcorn-popping machine were intriguing (as was the sequence when the two ladies came out and helped themselves to some popcorn and before walking across the stage, never to be seen again). Then there's Neil's drum set which is a sight to be seen on it's own - encapsulating him in 360 degrees of drums, cymbals and cowbells. Now have one of the greatest drummers perform on it, especially a solo, and there's entertainment value. Alex and Geddy keep it relatively simple, besides their rather complex effect pedal boards.

The video segments to open and close the acts were rather hokey although the nods to their catalog, Closer to the Heart doorbell chime and 2112 take-a-number, were cute. However the core of the concert, the music, definitely met its mark. The second act was filled out further as 7 violinists and a cellist took to a raised platform behind the band and really swirled in a new dimension of sound. This was actually the Clockwork Angels section, the critically praised most recent release, and I agree that it is a doozy. It has a full, rocking sound and the guitars are especially crunchy. Despite a lack of familiarity the crowd still seemed to really be enjoying it (I know I was). The first handful of tracks including Caravan and its big, old dirty guitar solo. The title track and The Anarchist were great as well. Adding to the scene were the explosive indoor pyrotechnics that were going off so quickly and sporadically during one song's finale that you wouldn't have known if anything had gone wrong. Luckily everything was going right through The Wreckers. The next couple lost some steam, and Alex's smoky solo seemed somewhat uninspired but they closed it nicely with the slightly slower Garden and its twangier guitar sound (and Alex on keys for a few moments too). Once Clockwork Angels was over the strings were soon dismissed in time for Neil to lay down another drum solo - this time on his secondary set (that spun around to be in front of him) which included an electronic pad and a bunch of cowbells.

Standout moment of the night came as they launched into YYZ and one can feel how special it is for a band of this age to be playing at this caliber - still so tight and still so passionate. Being instrumental, and nearing the end of the night, Geddy and Alex were able to roam the stage (as a couple of gnomes came out to wander around too). It was just an awe-inspiring display of musicianship.

Following up was The Spirit of Radio. The spirit of the fans could be heard in the roar for an encore that came quickly after it and the band returned nearly as quickly. Tom Sawyer was no slouch either but the ultimate closer came in a few movements of 2112 that had the whole concert hall moving as well - air drumming and fist pumping as we had been all night. What a Rush!

Sunday, October 14, 2012

Hey Ocean!, The Zolas (Great Hall, Oct 12/12)

Hey Ocean!
Both the crowd and the band brought mountains of energy to the Great Hall on Friday night. An uplifting welcoming cheer went up Hey Ocean! hit the stage and increased when frontwoman, Ashleigh Ball, emerged at last. Ever-enchanting, she endeared us all as they launch into tunes from IS, their most recent, and wonderful, pop record. Throughout the night she beamed as she sang her way into our hearts, and a few lucky front-row folks even had some intimate encounters, especially the lucky guy whose hair she caressed. My friend had the mic passed to her and we sang out some ooo's while Ashleigh let go with some on-stage dancing. Later on she encouraged us all to Make a New Dance Up and the typically movement-phobic Toronto did HeyO proud by grooving all over the floor. Following this up with the cover of Be My Baby was a stroke of genius as it kept the dance party moving.


 They mixed it up a little as well, such as when bass-Dave (Vertesi) took over the vocals for the Dolly Parton riffing Jolene, which has really grown on me. Ashleigh pulled out her flute for a tune and the whole band surrounded the drummer with sticks flying on another. Finally they closed out with a Big Blue Wave but were back for a couple older tunes including Too Soon in encore. Dave V climbed the speakers on one side before leaping off - and in an anything-you-can-do-I-can-do-better rebuttal from Ash she not only climbed the speakers but right up onto the upper floor railing and tight-rope walked along the top of it in a death-defying closing stunt. (See Set Lists below)
The Zolas

Besides the excellently catchy Marlaina Kamikaze that has kicked around on my playlists for years, I haven't paid too much attention to the Zolas. Working out of Vancouver the chances to see them have been limited and so this was the first opportunity. A friend had really psyched me up for the set and with the recently released album I had high expectations. Perhaps it was in the dim lighting required for the black and white films being projected onto the band and the curtain behind, or maybe the absence of one of the two founding members, but it is hard to explain away the lack of dynamism of this show. Technically the five guys playing guitars, bass, keys and drums (including electric pad) didn't do anything wrong they just didn't really draw us in all too much. Maybe increased exposure to the new material, both from the band playing it and from the crowds hearing it, will improve the live experience. In good form and smart planning they did close with Marlaina Kamikaze and it rocked, so they've got it in 'em and they left on a good note!


Set Lists





Bruce Peninsula (Junction Fest, Sept 22/12)

It was a surprisingly spirited performance by the local closers for the Junction Street Festival. Shouldn't have been surprised however as Bruce Peninsula always seem to bring the spirit. Not to mention the crowd gathered on the cool, early autumn night were more than just passersbys. Band in full, they brought the choir to the street and brought the street alive. Neil was his jovial self, chattering between well-loved songs. However they did include an unfamiliar song that had no introduction to explain where it came from. The Swimming Song required no introduction as Loudon Wainwright III's gem soared live yet again. The regular closing pair worked as per usual and I can't remember if they changed it up at all but either way it is all pleasant memories of the band doing their thing for their neighbourhood.

Friday, October 12, 2012

Regina Spektor, Only Son (Sony Centre, Oct 11/12)

Once her band had assembled on the large Sony Centre stage Regina Spektor came out under the spotlight. With nothing more than a smile she launched into a beautiful a cappella song, using just her fingers tapping on the mic to create the song's backbone. Special from the beginning.

Seating herself at the black piano where she would be much of the night, she began the stream of songs with her band that would garner an outpouring of love from the rapt Toronto crowd. Following the first number she played Far opener The Calculation into On the Radio - upbeat numbers to get us all on her side and allowed her to mix things up throughout the night. With or without the excellent percussion, cello and keyboardist (each would abstain from the occasional song, sometimes leaving Regina on her own) they recreated Regina's piano pop masterpieces magnificently. Her voice must be mentioned now and throughout this review as it truly is an amazing instrument. It isn't necessarily the most fundamentally perfect voice but her range, flexibility and creativity are what drives her wonderfully eclectic music. In fact, coming into this gig I had little knowledge of Regina as an artist, besides knowing that I loved each album that she released, and was thoroughly impressed as I watched her perform parts of the music with her mouth that I had been sure were produced by a wide array of other instruments from weird percussion to the kazoo. Engaging stuff.

The band, with help from the lighting crew, could really set a mood for a song as well. From the drama of new single All the Rowboats and its red lighting, the adamant Blue Lips, the range of love and love-lost emotions of Ode to Divorce and How, to the fun and nearly wild Dance Anthem of the 80's which had her up and playing the keyboard off to the side. Another time she was up out of her seat was when opener Only Son joined her to play his acoustic guitar on a duet they wrote together. New music from Cheap Seats was well represented and sailed well, including the sprightly Ne Me Quitte Pas that was translated easier than the solo song she played by her favourite Russian composer. However earlier material also garnered rousing responses.

Banter was kept to a minimum which was unfortunate because she seems so quirky - like there was potential for a few laughs to be had. (It was curious that she seemed to be speaking with someone backstage, or perhaps her drummer, between songs but not with us.) The crowd thought they'd make up for a lack of banter by shouting out inane things and even trying to converse with her in Russian. On two separate occasions, including the first song on the piano, she slipped up and had to restart the tunes but absolutely no love was lost. During this airing of the grievances paragraph I'll have to voice disappointment in the lack of That Time and Laughing With - perhaps incentive to see her again.

Following a prolonged pause for an encore she came back with the band to sing Hotel Song standing, sans piano and excellent. They came through with a couple more piano hits including Fidelity. As a fitting closer she brought it by herself for the much anticipated Samson that hit its mark, as did the entire show.

Only Son

Coming into Only Son partway through his set, and having listened to some of his music in preparation, I was intrigued and letdown to find he was just one man. Playing guitar over prerecorded tracks, from drum, keys to crickets, he had a decent voice and the music was alright but somehow I felt shorted. Things did pick up when he swapped acoustic for electric and played a couple songs I was relatively familiar with from his latest release, including Magic however I was still somewhat underwhelmed. Others in the audience seemed to be enjoying it, especially his banter - though that could have just been uncomfortable laughs as he was basically just narrating.

Songs I believe I remember hearing Regina play...

What We Saw from the Cheap Seats
Small Town Moon
Oh Marcello
Don't Leave Me (Ne Me Quitte Pas)
All the Rowboats
Firewood
How
Ballad of a Politician
Open
The Party

Far
The Calculation
Eet?
Blue Lips
Dance Anthems of the 80's

Begin To Hope
Fidelity
Better
Samson
On the Radio
Hotel Song

Soviet Kitsch
Us
Ode to Divorce