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.

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

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

Kicking 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). 

From 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.

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

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!

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.

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

The Beauties (Dakota Aug 26/12)

Having honed their skills on this very stage Sunday nights for years now it should be no surprise just how tight The Beauties are on stage. I didn't recognize any of their own songs but they easily had enough material for the evening, mining other catalogues as well, such as some slightly lesser known Stones'. With two electric guitars and an acoustic they've got the flexibility to do a lot and they did it well. These didn't overshadow the big bass sound nor the singing drummer. In fact, everyone but the bassist took a turn at the mic as they knew how to keep it interesting after so many gigs. A fun night, glad I was finally able to make it out on a Sunday.

Strumbellas, Harlan Pepper (Horseshoe, Sept 7/12)

Harlan Pepper were already on stage at the Legendary Horseshoe Tavern and were much as I recalled them to be. Still four young guys in cowboy shirts with mighty talent forging their was in rock and roll. Even the Harlan Pepper buck and doe were still on stage in all their cardboard glory. They played Wine, including a seemingly lazy guitar solo (that probably wasn't) and a cover of a Toronto artist I didn't recognize. At one point an obviously excited friend was asked to add some harmonica and he gave it all he had. Included was the double guitar party trick where they play each other's in the other guy's arms - it's neat! They've also updated their closing tunes, Wooly Bully followed by a medley of classic covers that pays homage to their influences, including Morrison's Gloria. Too easy to say it was glorious?

Details are sketchy as I was too busy dancing and clapping along to the fun folk of The Strumbellas but the gist of it was a great show. Still barefoot, still giving it their all, they folked out hard and brought the Toronto crowd along for the ride.

Graydon James and the Young Novelists were the hosts of the evening and they put together a heckuva bill. However their set didn't hold me too too long. Still a solid evening.

Zoobombs, Legato Vipers, Johnny Dowd (Silver Dollar, Sept 21/12)

Zoobombs

There's something about this Japanese four-piece and according to them there's something about Toronto. Whatever that something is, it results in magic. From the opening barrage of drums (the drummer is killer) through to the finale this was an unrelenting set of passion and music. The lead singer seems a quirky type and he absolutely runs with whatever jumps in his head while the rest of the band scramble to keep up. Thing is they are so tight that they do - the straight faced bassist will be put on the spot for a solo and fucking delivers; no questions asked. He even delivers while the singer drops to his knees in front of him, removes his belt throughout the solo and then lifts his shirt to rub his face into his stomach? Wtf, right? In context it is not only hilarious but seems fitting. Then a short time later, in the same vein while the two are squared off having a bass v. guitar battle the singer leans in and smacks a wet ol' kiss right on his lips - not even a blink! These two acts may seem like it was like that all night when really it varied hugely. There was the around the world guitar swing on his strap that failed because the guitar smashed off the ceiling of the small but intensely intimate Silver Dollar. From start to finish the sound was practically non-stop - not to say that it was always overpowering but the drums never seemed to cease as the drummer was an absolute machine. Although the lyrics may be unintelligible regardless of whether they are Japanese or English it is not to say that the music isn't any good either. It is all well orchestrated rock with hard, even hardcore, tendencies. The whole package.

Without much notice the band left the stage following their set. Despite having just been handed more show than most other full festivals can off the Toronto crowd hollered for more and all four returned to give it to us. Each person took a moment at the mic to thank us, Toronto specifically, for all of the support, with varying degrees of command of the English language. The genuine gratitude broke all language barrier as it became clear that they went out of their way to play here to begin their tour the week their album dropped. Finally they stopped thanking us and played a song - it was a slower jam and inappropriate closer so it was great when they revved up a verifiable rocker. Again the singer was everywhere, playing a solo on the female's keyboard from the wrong side and swapping vocals with her. The Zoobombs once again provided an uplifting, exhilarating display. You're welcome back any time!

Legato Vipers

The Legato Vipers were an odd stuffing to this concert sandwich. Including members of Cuff the Duke while loosely lead by Guelph's Mike Brooks. All instrumental - they played a handful of highly enjoyable rambling songs rooted in country & western but including elements of rockabilly and surf too. The musicians seemed to play off each other with some elements of freestyle in their set that seemed short and was composed of quick tunes as well. Altogether it was highly enjoyable - a band I'd watch again and again.

Johnny Dowd

 Even a few weeks later I'm not sure what to make of this set. Was there a joke here? And if so was I in on it, or were others? I mean at times it seemed an exercise in senility where Johnny had to read his words off a lyrics sheet on his stand - and the lyrics included lines like 'lost my underwear' repeated. Johnny is an older guy, with sharp guitar licks and an unmistakable voice that are all positives, though sometimes it comes close to straight spoken word. The music is quite upbeat and bouncy, uncharacteristic for guy of his age - but then again he got a late start so maybe he's just getting it out there now. The rest of the band was pretty decent as well, composed of a few guys much his junior in age playing solid keys and great drums. Song to song there were changes, as at times there was a mix of funk and atmospheric bass. Near the end Johnny said "We've done everything tonight we could for you - now we're going to do something for me" and jumped into a falsetto female voice for Betty - an odd song that tells an odd story. The whole thing was a little odd in fact - though it did have its moment and entertained, for one reason or another.

Devin Cuddy, Tim Chaisson (Nathan Phillips Square Sept 22/12)

The Devin Cuddy Band featured, surprise surprise, Devin Cuddy, playing the keys the entire time flanked by a classic electric guitar, bass and drums. Branching out only a little from his famous father's legacy there was a slight country vibe to the tunes, and his strong voice fit for a folk rock band. Good music, but nothing groundbreaking here.

Tim Chaisson followed this up with some pretty decent mainstream male music akin to Lifehouse or the like. I actually stayed an extra song or two despite a prior commitment.