Two Hours Traffic
It'd been some time since I'd seen Two Hours Traffic, meaning it had been some time since they've toured as they are firmly on my see-every-time list. Since last time there was a pretty big change in the Two Hours Traffic camp having founding member and guitarist Alec O'Hanley depart, while Liam joined forces with his cousin for The Express side project. Obviously he's been back at work with his main gig as there were more than a few new songs introduced at this show; songs that expand the boundaries of the pretty, pop aesthetic they'd built for themselves. Everything from Motown to a French song (well at least title and lyric) to a '50s ditty. These may take a few listens to bring me fully around, though I am excited to get my ears on the new disc that sounds like it's still at least a few months away. There were a few hardcore fans in the audience who responded to first album 'classics' (Sure Can Start, Sidewalk, Nighthawk, Backseat Sweetheart and Jezebel to close) while the majority of the crowd was won over as well. They didn't delve much into Territory territory besides Weightless One and Happiness Burns. Great to have them back out on the scene, new member and all, and waiting with bated breath for the new album and accompanying tour.
The Reason
The Reason's twitter handle is @thereasonrock and I'd always been a little put off by that as my memory of them was from a youth-oriented, drinkathon punk fest from more than a few years ago. Plus that pop-punk looking sneaker tee they'd made. These notions got blown right out of the room by one of the loudest rock sets I'd heard in awhile at the already notoriously loud Horseshoe Tavern. I was getting annoyed with the volume of the drum sound check and I was seated halfway back! They look and sound like seasoned vets nowadays, and rocked like youth in the wee hours (3am) of this CMW Saturday night.
Gentlemen Husbands
I hadn't paid too close attention to Gentleman Husbands before but found them to be coming across as a loud and clear rock band when I entered the Horseshoe partway through their set. Rocking electric guitars they threw down a classic Born to Run cover, doing Springsteen justice in finale.
Thursday, March 29, 2012
Grimes, Born Gold (Horseshoe Mar 27, '12)
Born Gold
Having seen the same Born Gold set twice (first time with Grimes at Hillside) I was excited to see what these uber creative folk had come up with for this tour. It was darker and different, both the music and the showmanship. To start with the lights were completely down to allow for a light-theremin of sorts to work. Essentially one member danced with a custom-built light-up jacket such that he would light a sleeve or a shoulder or a patch and wave it to produce noise. He also held different colored lights in his hands to raise a sound before whipping it away. This was pretty neat both visually and for the way it produced the sounds. Meanwhile his compatriots manned their stations either on keys, synths, programmed boards, tapping an electronic drum pad with a drumstick, or some combination of the above. The new music tended toward deeper beats, I hesitate to say the word techno but feel it had some aspects, that seemed well-produced though came across less danceable.
Now for the other aspects of their show. The electronics-bearing shovel and stilts made a reemergence on the first of only two old tunes, End of Days (the other being Lawn Knives). Another had them carry a thin sheet over our heads while flashing a strobe light underneath it reminiscent of Rich Aucoin's parachute (though admittedly not as fun). They donned creepy, dark masks and flashed synchronized, lit fans which looked quite cool too. All the while multicolored strobes burst on stage to the beat and gave the show a blinding element in the dark. Granted the presentation was visually unique and absolutely creative; put head to head with the previous incarnation the music and the band interactions were less crowd-participation inducing. That being said to compare to the last show is already a tall task and this is absolutely worth checking for the sheer spectacle of it.
Grimes
Grimes was finally playing the rescheduled Horseshoe, hometown gig. Okay, sure it had only been a week postponed due to sickness but ever since it was announced Grimes has blown up making this a hugely anticipated, sold out $8 show. It was anything but a polished, tight set, what with a few technical issues, including one spot of prolonged screeching feedback, some flubbed transitions, another time where the music cut out altogether, and the fact that Grimes was still recovering from the sickness that had caused her to cancel the show in the first place. Despite, or perhaps because of, all this it was a thoroughly enjoyable set. Sure she sputtered a series of obscenities when she couldn't hit the notes she was aiming for early in the set but that didn't stop her from giving everything else her all. Like her barely perceptible lisp, it may be in the imperfections that she succeeds.
Before playing a note this young artist was rambling. First thanking the openers, some of whom she is friends with, others she couldn't remember the names of. Then introducing her accompanying dancer, Duffy, who she promised would dance throughout and boy did he ever - scarf and chest hair swaying all over that stage! Introing the set she did her industrial 'non-song' and continued to play with her assortment of electronic dials and knobs, plus keyboard, all the while singing into one of her mics, also employing a variety of reverb and effects. Between songs she ran the vocal tracks backwards until the next song started up.
Everyone from Born Gold joined her after a few solo (don't forget Duffy) songs and they stayed up until, but not including, the final track. There were definite moments of danceability, including Vanessa, and the single, Oblivion, and some Torontonians actually attempted to dance despite the close quarters. Being primarily electronic music it did come across similarly to on album, though for her finale she did build up a massive wall of sound before closing out. The encore cheers could not persuade her to return, even after the stage lights came up, the house music came on, and brighter lights shone. As the minutes passed people were still looking expectantly sides stage. It wasn't to be, but the performance was worth it and a marked improvement over her bare bones set back in the summer.
Majical Cloudz
Majical Cloudz was a kinda awkward act of this somewhat out of place looking guy in black jeans and a white t shirt singing over some backing music provided by a second guy programming it. He wasn't a terrible singer but when he wasn't singing he wasn't doing much of anything but staring out at the crowd expressionless.
Having seen the same Born Gold set twice (first time with Grimes at Hillside) I was excited to see what these uber creative folk had come up with for this tour. It was darker and different, both the music and the showmanship. To start with the lights were completely down to allow for a light-theremin of sorts to work. Essentially one member danced with a custom-built light-up jacket such that he would light a sleeve or a shoulder or a patch and wave it to produce noise. He also held different colored lights in his hands to raise a sound before whipping it away. This was pretty neat both visually and for the way it produced the sounds. Meanwhile his compatriots manned their stations either on keys, synths, programmed boards, tapping an electronic drum pad with a drumstick, or some combination of the above. The new music tended toward deeper beats, I hesitate to say the word techno but feel it had some aspects, that seemed well-produced though came across less danceable.
Now for the other aspects of their show. The electronics-bearing shovel and stilts made a reemergence on the first of only two old tunes, End of Days (the other being Lawn Knives). Another had them carry a thin sheet over our heads while flashing a strobe light underneath it reminiscent of Rich Aucoin's parachute (though admittedly not as fun). They donned creepy, dark masks and flashed synchronized, lit fans which looked quite cool too. All the while multicolored strobes burst on stage to the beat and gave the show a blinding element in the dark. Granted the presentation was visually unique and absolutely creative; put head to head with the previous incarnation the music and the band interactions were less crowd-participation inducing. That being said to compare to the last show is already a tall task and this is absolutely worth checking for the sheer spectacle of it.
Grimes
Grimes was finally playing the rescheduled Horseshoe, hometown gig. Okay, sure it had only been a week postponed due to sickness but ever since it was announced Grimes has blown up making this a hugely anticipated, sold out $8 show. It was anything but a polished, tight set, what with a few technical issues, including one spot of prolonged screeching feedback, some flubbed transitions, another time where the music cut out altogether, and the fact that Grimes was still recovering from the sickness that had caused her to cancel the show in the first place. Despite, or perhaps because of, all this it was a thoroughly enjoyable set. Sure she sputtered a series of obscenities when she couldn't hit the notes she was aiming for early in the set but that didn't stop her from giving everything else her all. Like her barely perceptible lisp, it may be in the imperfections that she succeeds.
Before playing a note this young artist was rambling. First thanking the openers, some of whom she is friends with, others she couldn't remember the names of. Then introducing her accompanying dancer, Duffy, who she promised would dance throughout and boy did he ever - scarf and chest hair swaying all over that stage! Introing the set she did her industrial 'non-song' and continued to play with her assortment of electronic dials and knobs, plus keyboard, all the while singing into one of her mics, also employing a variety of reverb and effects. Between songs she ran the vocal tracks backwards until the next song started up.
Everyone from Born Gold joined her after a few solo (don't forget Duffy) songs and they stayed up until, but not including, the final track. There were definite moments of danceability, including Vanessa, and the single, Oblivion, and some Torontonians actually attempted to dance despite the close quarters. Being primarily electronic music it did come across similarly to on album, though for her finale she did build up a massive wall of sound before closing out. The encore cheers could not persuade her to return, even after the stage lights came up, the house music came on, and brighter lights shone. As the minutes passed people were still looking expectantly sides stage. It wasn't to be, but the performance was worth it and a marked improvement over her bare bones set back in the summer.
Majical Cloudz
Majical Cloudz was a kinda awkward act of this somewhat out of place looking guy in black jeans and a white t shirt singing over some backing music provided by a second guy programming it. He wasn't a terrible singer but when he wasn't singing he wasn't doing much of anything but staring out at the crowd expressionless.
Wednesday, March 28, 2012
CMW: Wintersleep, twice! (Rivoli, Horseshoe, Mar 24,'12)
Rivoli 10pm
Describing the appeal of a Wintersleep show cannot do it justice. Seeing them on this night, even playing primarily entirely new songs, had them shoot up on my ranking of them, both live and as a band. This isn't a case of low expectations either.
To a probably-full house at the Rivoli these five Halifax men took to the stage with new songs to sing. The opening song employed two pairs of hands on keys, keyboard and synths, and the singer with his hands empty, thereby removing three guitars (and bass guitars) from the mix and giving a more swirling background sound. They would pick up their instruments from here on songs new and old but it showcased the confidence and innovation that is still infused in this group that continues to produce with higher and higher quality. With four lauded albums on the books and their latest in the bag (no mention of release date just yet) they had no issue starting with three brand new tracks before rewarding the CMW audience with an acoustic-including version of their biggest commercial hit, Weighty Ghost. This hit everywhere it needed and we weren't restless through the next two hot off the studio offerings. Helped that they were of high calibre as well, plus their drummer is simply a treat to watch. Not wanting to completely alienate the less-open-minded of the crowd they pleased by capping off with a full-on rock-out on Lasers followed by Oblivion. This closer had such an affect that I immediately charged from the set and slapped down my money next door at the Horseshoe to see them do it again.
Horseshoe 11:30pm
There were two sets between, including a high energy, high enjoyment one from Two Hours Traffic but my giddiness was guided by the thought of Wintersleep coming to do it again. There was the possibility of a complete rehash with nothing new to offer but I had a feeling that the crowd excitement in the room might draw them out a little more. Besides this was the Horseshoe and it was their headliner.
They did in fact open with the same as the previous and the second may have been as well but this time it was especially impressive. From here the set diverged with Resuscitate and even the mid-set Weighty Ghost now had an electric guitar in the singer's hands where an acoustic had been earlier. Yes, I sang along.
Fighting off some guitar troubles we were treated to a new, old addition to the set in Archaeologists before a new, new song. Slowing the pace they then played what is sure to be a favourite once Hello Hum drops called Nothing is Anything. This got them on track to finish this extended set strong. They were in their element on Lasers and carried that into the still-appreciated the second time, Oblivion. The one positive about The Constantines breaking up is that the Canadian rock bands are feeling compelled to play tribute to them as I've seen many covers lately with this rendition of Young Lions matching the Cons' usual live intensity. Is there a better Wintersleep finale than the sonically awesome Miasmal Smoke and the Yellow Bellied Freaks? The driving quality of this song, which swells as it ebbs and flows, carries the listener on a journey to bliss.
Calls for an encore, practically unheard of at CMW, rang out and made an amusingly awkward moment when we were still cheering minutes later and the band returned to the stage. However they were there to retrieve their gear only and smiled but waved off the encore cheers.
Describing the appeal of a Wintersleep show cannot do it justice. Seeing them on this night, even playing primarily entirely new songs, had them shoot up on my ranking of them, both live and as a band. This isn't a case of low expectations either.
To a probably-full house at the Rivoli these five Halifax men took to the stage with new songs to sing. The opening song employed two pairs of hands on keys, keyboard and synths, and the singer with his hands empty, thereby removing three guitars (and bass guitars) from the mix and giving a more swirling background sound. They would pick up their instruments from here on songs new and old but it showcased the confidence and innovation that is still infused in this group that continues to produce with higher and higher quality. With four lauded albums on the books and their latest in the bag (no mention of release date just yet) they had no issue starting with three brand new tracks before rewarding the CMW audience with an acoustic-including version of their biggest commercial hit, Weighty Ghost. This hit everywhere it needed and we weren't restless through the next two hot off the studio offerings. Helped that they were of high calibre as well, plus their drummer is simply a treat to watch. Not wanting to completely alienate the less-open-minded of the crowd they pleased by capping off with a full-on rock-out on Lasers followed by Oblivion. This closer had such an affect that I immediately charged from the set and slapped down my money next door at the Horseshoe to see them do it again.
Horseshoe 11:30pm
There were two sets between, including a high energy, high enjoyment one from Two Hours Traffic but my giddiness was guided by the thought of Wintersleep coming to do it again. There was the possibility of a complete rehash with nothing new to offer but I had a feeling that the crowd excitement in the room might draw them out a little more. Besides this was the Horseshoe and it was their headliner.
They did in fact open with the same as the previous and the second may have been as well but this time it was especially impressive. From here the set diverged with Resuscitate and even the mid-set Weighty Ghost now had an electric guitar in the singer's hands where an acoustic had been earlier. Yes, I sang along.
Fighting off some guitar troubles we were treated to a new, old addition to the set in Archaeologists before a new, new song. Slowing the pace they then played what is sure to be a favourite once Hello Hum drops called Nothing is Anything. This got them on track to finish this extended set strong. They were in their element on Lasers and carried that into the still-appreciated the second time, Oblivion. The one positive about The Constantines breaking up is that the Canadian rock bands are feeling compelled to play tribute to them as I've seen many covers lately with this rendition of Young Lions matching the Cons' usual live intensity. Is there a better Wintersleep finale than the sonically awesome Miasmal Smoke and the Yellow Bellied Freaks? The driving quality of this song, which swells as it ebbs and flows, carries the listener on a journey to bliss.
Calls for an encore, practically unheard of at CMW, rang out and made an amusingly awkward moment when we were still cheering minutes later and the band returned to the stage. However they were there to retrieve their gear only and smiled but waved off the encore cheers.
CMW: Writers' Strike (Rivoli, Mar 24, '12)
Writers' Strike were a shot of energy in the early morning hours. Hailing from Halifax they did their friend and countryman (cityman?), Rich Aucoin, proud with a fast-paced set full of jaunty, contemporary rock tunes. They ran through a number of songs without pause and it wasn't til they played New York City that I recalled I knew them before the name change (from The First Aid Kit). That being said I'd never seen them but was glad to be seeing them on this occasion. As a full-frontal assault the three singers were lined up straight across the stage with their female synthesizer (slash backup vocalist) and drummer taking the second row. Clap-alongs were the norm and for the second-last tune they pulled it out with a singalong and even passed out flags to be waved throughout (a nod to Rich). Finally their finale was Burning Down the House - how (anti) cool is that?
Postscript: After seeing this show I read that Luke Lalonde from the Born Ruffians had just performed the Talking Heads song this week too.
Postscript: After seeing this show I read that Luke Lalonde from the Born Ruffians had just performed the Talking Heads song this week too.
Sunday, March 25, 2012
CMW: Dine Alone Showcase (El Mocambo, Mar 23, '12)
Not in chronological order, or any order at all really.
The Sheepdogs were rumoured to be the secret guests and were the logical choice. Following hours of speculation their manager confirmed my suspicion while taking a piss upstairs, so it was pure elation when they took the stage. They rocked as they are apt to do. Learn & Burn, The One You Belong To amongst em. I'd taken off my amateur blogger cap by this point and put on my drunk music fan bib so details are sketchy but it was fun. What do you want me to say? I Don't Know!
If The Sheepdogs epitomize '70s rock I'm not sure what era Monster Truck represent but it is unabashed, straight-ahead, loud-as-they-can-get-it, rock and roll that they play. And it's pretty darn good too. Didn't realize just how loud the upstairs of the El Mo can get until I got run over by a Monster Truck (wuh waa).
The Apache Relay were a band I was told I was going to like. From the opening a capella intro I was into it and as the band joined in it only improved. There was an energy on stage from both the music and the members that carried back and forth with the audience. The amped violin added a stellar touch too. Found a new group in these Nashville boys.
Upstairs of the El Mo (my first time ever up there) I found the bearded Spencer playing earnest acoustic guitar before his band of slide guitar, cello, violin, drum and electric guitar also came to life. Folk music riding the swell of those instruments, Grey Kingdom was a pleasant surprise. Spencer proved to be a very amusing fellow though his candid banter as well.
Also upstairs Hacienda played a set with the endorsement of one of the Black Keys members. It was a fine little enjoyable rock set though that's about all my notes have to say about these guys.
I purposely arrived early for The Great Bloomers to see what the five piece has been up to since I last saw them years ago. They played some indie rock without much flare so unfortunately they didn't stand out in the sea of CMW.
Same goes for Dinosaur Bones as Great Bloomers. I'd seen em at last year's CMW and like some of their recorded stuff but didn't set themselves apart with this middle-of-the-line set.
Unfortunately a band I was really looking forward to catching again, Parlovr, were right before the Sheepdogs but on the other level. Having already slipped in through the out door for the 'dogs I didn't want to chance being stuck away from the special guests and therefore missed them.
The Sheepdogs were rumoured to be the secret guests and were the logical choice. Following hours of speculation their manager confirmed my suspicion while taking a piss upstairs, so it was pure elation when they took the stage. They rocked as they are apt to do. Learn & Burn, The One You Belong To amongst em. I'd taken off my amateur blogger cap by this point and put on my drunk music fan bib so details are sketchy but it was fun. What do you want me to say? I Don't Know!
If The Sheepdogs epitomize '70s rock I'm not sure what era Monster Truck represent but it is unabashed, straight-ahead, loud-as-they-can-get-it, rock and roll that they play. And it's pretty darn good too. Didn't realize just how loud the upstairs of the El Mo can get until I got run over by a Monster Truck (wuh waa).
The Apache Relay were a band I was told I was going to like. From the opening a capella intro I was into it and as the band joined in it only improved. There was an energy on stage from both the music and the members that carried back and forth with the audience. The amped violin added a stellar touch too. Found a new group in these Nashville boys.
Upstairs of the El Mo (my first time ever up there) I found the bearded Spencer playing earnest acoustic guitar before his band of slide guitar, cello, violin, drum and electric guitar also came to life. Folk music riding the swell of those instruments, Grey Kingdom was a pleasant surprise. Spencer proved to be a very amusing fellow though his candid banter as well.
Also upstairs Hacienda played a set with the endorsement of one of the Black Keys members. It was a fine little enjoyable rock set though that's about all my notes have to say about these guys.
I purposely arrived early for The Great Bloomers to see what the five piece has been up to since I last saw them years ago. They played some indie rock without much flare so unfortunately they didn't stand out in the sea of CMW.
Same goes for Dinosaur Bones as Great Bloomers. I'd seen em at last year's CMW and like some of their recorded stuff but didn't set themselves apart with this middle-of-the-line set.
Unfortunately a band I was really looking forward to catching again, Parlovr, were right before the Sheepdogs but on the other level. Having already slipped in through the out door for the 'dogs I didn't want to chance being stuck away from the special guests and therefore missed them.
Thursday, March 22, 2012
CMW: Michael Bernard Fitzgerald, Scenic Route to Alaska (Mar 21, '12)
It takes something to stand out in the singer-songwriter category, especially during something as hectic as CMW. Michael Bernard Fitzgerald seems to have some of whatever it is going on, though even after his Gladstone show on opening night it's hard to pin down. Fronting a five piece he primarily strummed his acoustic guitar while playing both upbeat numbers, as well as a couple he dubbed 'lovey dovey'. Old favourite Movie Life started on the right foot while the following love-dove had to compete with side conversations despite a call for quiet. To combat this he quickly reverted to a jumpier number featuring synchronized guitar strums with the drummer in the end. His two backing females features prominently as well, on vocals for Man Overboard and keys on others. As the set found its groove he slotted in another older tune in Maxine before the standout Brand New Spaces which easily improved on the already-stellar recorded version - not just for the 'Shorty Got Low' verses rapped at the end. Keeping the fun up we stomped and sang along to the oft-covered Boss' Dancin' in the Dark. In finale, now that he had the crowd, the band stepped aside and allowed him to pick and pour out the lyrics asking 'Can you hear me?'. MBF you're coming through just fine!
Scenic Route to Alaska drove (presumably the scenic route) from Edmonton to Toronto for their first Toronto show ever, taking part in CMW. The standard three-piece was instantly likable, playing the much-less-than-capacity room with spirit and charm. It must have been the slight twang of the electric six-string that conjured up Elliott Brood and Harlan Pepper references to mind, yet sounding quite different from both of these at the same time. The lead's confident vocals rang clear and were nicely accompanied by opener Alana Clark on one song as well. Some promise from these lads. They know how to have a good time too, dropping a Beatles cover in I've Just Seen a Face amid their toe-tapping tunes.
Scenic Route to Alaska drove (presumably the scenic route) from Edmonton to Toronto for their first Toronto show ever, taking part in CMW. The standard three-piece was instantly likable, playing the much-less-than-capacity room with spirit and charm. It must have been the slight twang of the electric six-string that conjured up Elliott Brood and Harlan Pepper references to mind, yet sounding quite different from both of these at the same time. The lead's confident vocals rang clear and were nicely accompanied by opener Alana Clark on one song as well. Some promise from these lads. They know how to have a good time too, dropping a Beatles cover in I've Just Seen a Face amid their toe-tapping tunes.
Rococode, Grounders (Horseshoe, Mar. 20, '12)
From the outset the four members of Rococode were here to display their wares with a staunch, building, instrumental crescendo immediately. From there they moved toward a pop sound that was firmly grounded in rock, while even in their noisiest moments they never descended into noise itself but maintained melody. The male and female vocal swapping, and occasional collaboration, provided a great balance. Laura Smith's voice shone, while her synths took off the cutting edge of Andrew Braun's guitar without necessarily starting a dance party. The rock was progressive, but not prog. In fact I hesitate to draw the comparison but had already thought it before a friend independently likened their poppier moments to Mother Mother. Being my first real exposure to them besides the couple 'singles' Empires and Weapon, both of which they played, I'd say their stage show was predominantly about the music, backed by an excellent drummer, and was truly enjoyable.
Grounders followed with an alright set of jaunty rock akin to Born Ruffians but instead of Luke Lalonde's impressive vocal range the singer employed a Boats-like vocal effect (though not as strong) that wasn't exactly enjoyable.
Grounders followed with an alright set of jaunty rock akin to Born Ruffians but instead of Luke Lalonde's impressive vocal range the singer employed a Boats-like vocal effect (though not as strong) that wasn't exactly enjoyable.
Van Halen with Diamond Dave, Kool & the Gang (ACC, March 17, 2012)
Without too much pomp or circumstance today's line up of Van Halen took to the stage led of course by the way-back-when original and inimitable singer Diamond Dave. His namesake obviously stemming from his fashion choices (or vice versa?) as he shone in a diamond studded jacket and matching diamond trimmed pants. These didn't stop him from sliding across his special dance floor or popping high kicks throughout the set, albeit not always making it look like the most natural of activities for this aging rocker. Forget the fashion and get on with the music!
They did 'hit the ground running' playing Unchained into Running' With the Devil right off the top to bring us all around early. These classic riffs stemming from Eddie's axe send waves of excitement, especially at arena rock decibel levels. They played a few deeper cuts through the night and even tossed in new single Tattoo that prompted Dave to stop twirling his mic stand and pull his pants down to reveal some unidentifiable tattoo on his hip/ass.
Breaking up the set were some classic covers, first Orbison's Pretty Woman was given the rock treatment then following a Caribbean-influenced drum solo from Mr. Van Halen, Alex, they did the Kinks' You Really Got Me. Eddie wasn't to be outdone by his brother and dropped a screeching solo on this tune with his signature-paint-job bearing guitar. Also in the current line up is Eddie's son, Wolfgang, doing a fine job keeping it in the family tending to bass duties and joining his father in great sounding backing vocals on many tunes like Beautiful Girls.
Despite all the well-documented drama from the band, Eddie and David Lee Roth seemed to be getting on just fine as they cracked smiles and shared laughs while performing Dance the Night Away. Alex reared his head for that recognizable Hot for Teacher drumming to which Dave pranced around the stage in a similarly studded Asian kimono cape of sorts before inexplicably taking five minutes alone on stage holding an acoustic guitar (only instrument he'd play all night) to show a video of his dogs rounding up livestock and then pandering for a cheer linking dog-lovers to VH. Huh?
The band thankfully returned after this to finish the set in style. At the end of an appreciated Panama Dave exited, leaving the fam jam that then cleared the way for Ed's solo. Hands-down the favorite part of the night and one of the best elements of any concert going, Eddie began working his wonders while seated on the steps on stage and proceeded to carry on for a whopping 8 minutes of mind-blowing guitar, working the whammy bar, picking up and down the neck, and twisting knob effects too. Astounding! The inclusion of the Eruption lick didn't go unnoticed either.
I didn't want the solo to end but it did anyway as the crew returned to scorch Ain't Talking 'Bout Love and say goodnight. Not even bothering to leave the stage they agreed to do one more, almost as obvious as Celebration (see below), and with a hundred kilos of confetti Jump certainly was a celebration.
Kool and the Gang
Everyone agrees it an odd marriage having Kool and the Gang opening for Van Halen. Besides perhaps a similar time of emergence they don't share much in common sonically. The support band did their best to win over the ACC crowd that were finding their seats during Ladies Night. A large contingency of them, including a brass section, brought us Get On Down. It wasn't exactly rocket science to figure they'd wrap with Celebration - the only question besides 'is that the original Kool?' was whether he and his Gang were recycling the choreographed dance moves that originally accompanied these songs in the days of funk and disco.
They did 'hit the ground running' playing Unchained into Running' With the Devil right off the top to bring us all around early. These classic riffs stemming from Eddie's axe send waves of excitement, especially at arena rock decibel levels. They played a few deeper cuts through the night and even tossed in new single Tattoo that prompted Dave to stop twirling his mic stand and pull his pants down to reveal some unidentifiable tattoo on his hip/ass.
Breaking up the set were some classic covers, first Orbison's Pretty Woman was given the rock treatment then following a Caribbean-influenced drum solo from Mr. Van Halen, Alex, they did the Kinks' You Really Got Me. Eddie wasn't to be outdone by his brother and dropped a screeching solo on this tune with his signature-paint-job bearing guitar. Also in the current line up is Eddie's son, Wolfgang, doing a fine job keeping it in the family tending to bass duties and joining his father in great sounding backing vocals on many tunes like Beautiful Girls.
Despite all the well-documented drama from the band, Eddie and David Lee Roth seemed to be getting on just fine as they cracked smiles and shared laughs while performing Dance the Night Away. Alex reared his head for that recognizable Hot for Teacher drumming to which Dave pranced around the stage in a similarly studded Asian kimono cape of sorts before inexplicably taking five minutes alone on stage holding an acoustic guitar (only instrument he'd play all night) to show a video of his dogs rounding up livestock and then pandering for a cheer linking dog-lovers to VH. Huh?
The band thankfully returned after this to finish the set in style. At the end of an appreciated Panama Dave exited, leaving the fam jam that then cleared the way for Ed's solo. Hands-down the favorite part of the night and one of the best elements of any concert going, Eddie began working his wonders while seated on the steps on stage and proceeded to carry on for a whopping 8 minutes of mind-blowing guitar, working the whammy bar, picking up and down the neck, and twisting knob effects too. Astounding! The inclusion of the Eruption lick didn't go unnoticed either.
I didn't want the solo to end but it did anyway as the crew returned to scorch Ain't Talking 'Bout Love and say goodnight. Not even bothering to leave the stage they agreed to do one more, almost as obvious as Celebration (see below), and with a hundred kilos of confetti Jump certainly was a celebration.
Kool and the Gang
Everyone agrees it an odd marriage having Kool and the Gang opening for Van Halen. Besides perhaps a similar time of emergence they don't share much in common sonically. The support band did their best to win over the ACC crowd that were finding their seats during Ladies Night. A large contingency of them, including a brass section, brought us Get On Down. It wasn't exactly rocket science to figure they'd wrap with Celebration - the only question besides 'is that the original Kool?' was whether he and his Gang were recycling the choreographed dance moves that originally accompanied these songs in the days of funk and disco.
Monday, March 5, 2012
Juno Concert Series with Arkells, Beauties, The Order of Good Cheer (Horseshoe Tavern, March 3)
If it was an Arkells show that you'd signed up for that wasn't at all what you got, however in many ways this was more special, and undeniably more unique. This evening at the Horseshoe was a chance to pay reverence to Canadian musicians of yesteryear, or even yestermonth - as tributes reigned supreme and surprise guests arrived in bundles.
Rock me gently, rock me slowly
Up first was the Toronto band The Order of Good Cheer, including an all-white donning Serena Ryder's husband. It was no surprise when she arrived on song two for some guest vocals and stuck around for much of this fully enjoyable set rooted firmly in rock and roll. Tom Darcy also grabbed a mic for a couple songs including Rock Me Gently. Contemporary covers from Jason Collett's mouth were Weakerthans Sun in an Empty Room and Metric's Gold Guns Girls. Kevin Drew of BSS fame played a non-eyewear related Corey Hart song. The highlight came as Billy Talent's main man, Ben Kowalaweicz, tore apart a song and band I'd never even heard before. Surfing on Heroine by the Forgotten Rebels was undeniably punk with a very tangible surfer feel. Excellent way to close the set off.
It may have been for a mere one song, solo, but any chance to witness Ron Sexsmith play is a fortunate chance.
This ain't nothing new to me - well it's just like going home
The six members of the Beauties went straight into Juno territory with Guess Who's Guns Guns Guns (Godspeed Mother Nature) before inviting renowned Toronto musician Ian Blurton out to rip some guitar strings, slag the audience and sing from beyond the beard Weeping Widow. Man of the moment Afie Jurvasen aka Bahamas, replaced Ian on the guest mic next and then gave way to local member of parliament, Andrew Cash. Cash's vocals were fine but the song choice was one I was unaware of and even with Maya Davis of Ladies of the Canyon also guesting, it was a bit of a yawn. The lull continued for me as members of the respected (but boring IMHO) Skydiggers came out. The set was rescued by one of the greatest Canadian songs ever written (my personal bias now bleeds apparent) Hasn't Hit Me Yet originally by Blue Rodeo of course, sung this time partially by NQ Arbuckle's Neville, but primarily by the Horseshoe sellout crowd. Kevin Drew returned for a song about the last night in the city that sounded right up his alley and apparently is one he's been performing with the Beauties for years anyway. Another Skydiggers song closed out the middle frame.
Can I Get a Witness??
Originally I'd thought the billing was as an Arkells set, and having missed their much adored last tour I was hoping for at least a partial set but it wasn't to be. What came in its place was nothing to be disappointed about however. From the top their enthusiasm for the night, for the songs they'd be singing and the artists they'd be sharing the stage with was infectious. A contemporary classic began in BSS' Cause = Time, given justice by Born Ruffian vocalist Luke Lalonde's vocals. From the same approximate era they dug into an Extraordinary Joel Plaskett tune crooned by Emm Gryner as well as Max Herman. By Divine Right were represented next before a slew of guests arrived on stage. Among them were Cuff the Duke's Wayne Petti, LOTC Maya Davis again (she made her presence felt much of the night) a touring member of City and Colour, and the violin flourish of the Great Lake Swimmers' female player. Why such a large contingency? Attempting to give the second Neil Young song of the night a proper sound requires it, and Harvest Moon succeeded because of it. Wayne stuck around for a marvelous Future Hangs from his main band. My personal highlight came in the form of OLP's 4am that featured Jeremy Taggart, as well as Dave Monks and Graham Wright from Tokyo Police Club. That compact disc, Clumsy, was the soundtrack to my generation's musical awakening, as evidenced by the ensuing singalong. Mr. Popular (Drew) returned to complete the trifecta alongside Maya for The Dears You and I Are a Gang of Losers. Probably the closest thing we'd get to an Arkells song was when they alone ripped out Young Offenders by the Cons from who they've obviously picked up the torch in many ways.
Cuz when the feeling's right...
This is all too much really. The display of talent - not only physically on display but also in the songs written by Juno contenders throughout the ages - was simply awesome. How do you wrap this up? Go with the insanely popular crowd pleasers. First get Gord Sinclair and Paul Langois on stage to perform early years Hip classic, Grace Too. Boy did that go off! Untoppable? Try bringing the house down by bringing the Beauties back out for none other than Bryan Adams' Run To You.
Canadian music was rightfully put on display this evening, and it shone bright.
Rock me gently, rock me slowly
Up first was the Toronto band The Order of Good Cheer, including an all-white donning Serena Ryder's husband. It was no surprise when she arrived on song two for some guest vocals and stuck around for much of this fully enjoyable set rooted firmly in rock and roll. Tom Darcy also grabbed a mic for a couple songs including Rock Me Gently. Contemporary covers from Jason Collett's mouth were Weakerthans Sun in an Empty Room and Metric's Gold Guns Girls. Kevin Drew of BSS fame played a non-eyewear related Corey Hart song. The highlight came as Billy Talent's main man, Ben Kowalaweicz, tore apart a song and band I'd never even heard before. Surfing on Heroine by the Forgotten Rebels was undeniably punk with a very tangible surfer feel. Excellent way to close the set off.
It may have been for a mere one song, solo, but any chance to witness Ron Sexsmith play is a fortunate chance.
This ain't nothing new to me - well it's just like going home
The six members of the Beauties went straight into Juno territory with Guess Who's Guns Guns Guns (Godspeed Mother Nature) before inviting renowned Toronto musician Ian Blurton out to rip some guitar strings, slag the audience and sing from beyond the beard Weeping Widow. Man of the moment Afie Jurvasen aka Bahamas, replaced Ian on the guest mic next and then gave way to local member of parliament, Andrew Cash. Cash's vocals were fine but the song choice was one I was unaware of and even with Maya Davis of Ladies of the Canyon also guesting, it was a bit of a yawn. The lull continued for me as members of the respected (but boring IMHO) Skydiggers came out. The set was rescued by one of the greatest Canadian songs ever written (my personal bias now bleeds apparent) Hasn't Hit Me Yet originally by Blue Rodeo of course, sung this time partially by NQ Arbuckle's Neville, but primarily by the Horseshoe sellout crowd. Kevin Drew returned for a song about the last night in the city that sounded right up his alley and apparently is one he's been performing with the Beauties for years anyway. Another Skydiggers song closed out the middle frame.
Can I Get a Witness??
Originally I'd thought the billing was as an Arkells set, and having missed their much adored last tour I was hoping for at least a partial set but it wasn't to be. What came in its place was nothing to be disappointed about however. From the top their enthusiasm for the night, for the songs they'd be singing and the artists they'd be sharing the stage with was infectious. A contemporary classic began in BSS' Cause = Time, given justice by Born Ruffian vocalist Luke Lalonde's vocals. From the same approximate era they dug into an Extraordinary Joel Plaskett tune crooned by Emm Gryner as well as Max Herman. By Divine Right were represented next before a slew of guests arrived on stage. Among them were Cuff the Duke's Wayne Petti, LOTC Maya Davis again (she made her presence felt much of the night) a touring member of City and Colour, and the violin flourish of the Great Lake Swimmers' female player. Why such a large contingency? Attempting to give the second Neil Young song of the night a proper sound requires it, and Harvest Moon succeeded because of it. Wayne stuck around for a marvelous Future Hangs from his main band. My personal highlight came in the form of OLP's 4am that featured Jeremy Taggart, as well as Dave Monks and Graham Wright from Tokyo Police Club. That compact disc, Clumsy, was the soundtrack to my generation's musical awakening, as evidenced by the ensuing singalong. Mr. Popular (Drew) returned to complete the trifecta alongside Maya for The Dears You and I Are a Gang of Losers. Probably the closest thing we'd get to an Arkells song was when they alone ripped out Young Offenders by the Cons from who they've obviously picked up the torch in many ways.
Cuz when the feeling's right...
This is all too much really. The display of talent - not only physically on display but also in the songs written by Juno contenders throughout the ages - was simply awesome. How do you wrap this up? Go with the insanely popular crowd pleasers. First get Gord Sinclair and Paul Langois on stage to perform early years Hip classic, Grace Too. Boy did that go off! Untoppable? Try bringing the house down by bringing the Beauties back out for none other than Bryan Adams' Run To You.
Canadian music was rightfully put on display this evening, and it shone bright.
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