Sunparlour Players, Let's Just Be Friends - Dakota (Mar 26/13)

The Sunparlour Players were in fine form on this Tuesday night, as well they should be with the end of a month that saw them playing Tuesday night residency sets at the Dakota and Wednesdays in Guelph. Their first set stretched well into the evening and covered a solid number of their top songs - though really the quality of the songs is top-notch even with the fairly wide-ranging variation that they cover. This is especially impressive given that they are down to a two-piece, and it continues to amaze me how they lost a third of their band yet continue to reproduce that same SPP sound. Mind you this is no easy feat and does take each member playing a number of instruments with all extremities at most times. The baritone recipe from their latest Sunparlour Preserves EP played them in but unfortunately I didn't hear the catchy single from that release, Shake and Bake for Goodness Sake, by the time I left partway through the second and final set. They did pull out standards If the Creeks Don't Rise and Battle of '77 as if they weren't show closers, finally shutting it down with the wildly intense John Had a Bell and a Whistle. Maybe I'm just a huge fan but it felt like a best-of first set, with the second act serving as a little more experimental. This makes sense as now that March is over their plan is to hunker down and cut a new record. Can't wait for that to drop and add some new favourites to the repertoire they can tour!

Let's Just Be Friends

A relatively recently formed band featuring two lead vocalist females (and guitar players), with delightfully airy voices when necessary. Behind them the three guys were no slouches either - quite literally with the drummer who didn't even have a stool to sit at for the entire show, which probably added to the intensity that he beat his set. The cello player did understandably have a seat where he could give them an interesting sound without a bass as the last member played the guitar, and he played it perched from a chair for the final song. There were more than a couple songs I found myself picking out as really solid. A great deal of promise here and I hope that they remain friends for some time.

Shout Out Out Out Out, Cookie Duster - CMW - Horseshoe (Mar 23/13)

Shout Out Out Out Out

My first time seeing SO4 outside of Guelph/Waterloo and there was a difference. Sure you still had the double drumset, the mountains of gear upon which knobs were cranked, turned and pushed, and a couple bass guitars to boot, but there was an electricity in the crowd too. Saturday night at the Horseshoe for CMW with extended drinking hours, not to mention the warm-up provided by Badbadnotgood all factored into it but the crowd itself played a huge role. The band even said that outside of their hometown of Edmonton that Toronto is the craziest place they love to play - something only a few bands would admit. Having only a showcase timeslot, despite it being 1:30 in the morning they ripped a mixed handful of songs from their three discs, including a couple from their debut - Dude, You Feel Electrical and sneaking in In the End It's Your Friends at the very end. High energy, high volume, high kicks - this show had everything you could ask for in a Shout Out Out Out Out show and more. (The more being a bunch of sweaty moshing dudes deciding to take their shirts off, off, off, off.)

Cookie Duster

The band started before Broken Social Scene and are just now getting their chance to play things out with the BSS hiatus. That big of a gap shows the age to some degree as Brendan Canning isn't the spry chicken he once was. They opened with Cut Me, Focus which sounded fine but didn't break down any barriers. Similarly later in the set Brendan Canning took the lead, both guitar and vocals, for Something Evil Again and although it sounded fine it was not groundbreaking. Leading lady did her best at the rock star persona however cheers'ing with water and non-believably calling us mother-f*ckers didn't really back that up while singing Two Feet Stand Up. Altogether there was nothing terrible about the set however having to say that means there wasn't much that endeared either.

Aidan Knight, Andy Shauf - Young Lions Exclusive Apt Show - CMW (Mar 23/13)

Andy Shauf

In a living room overlooking Lee's Palace people crowded around for the just announced members-only gig. Andy Shauf took to the 'stage' (perched on an amp near the end of the room) and played a string of songs on his acoustic guitar. His subdued voice worked for the low key set, though at moments we did have to strain to hear him over some Bloor Street traffic filtering through the ajar patio door. Slightly awkwardly he asked the audience if they had any questions a few time, I suppose in an effort to get to know him in the intimate setting. The lyrics were intimate and amusing the tale of the smoking hometown hero was particularly enjoyable. Perhaps six songs later they made way for the Friendly Friends who were set to bring the energy up a little.

Aidan Knight and the Friendly Friends

And friendly they were! The band's namesake was also seated, surrounded by his female vocalist/horn section, violin/bass/guitarist, drummer and the unseen keyboardist at the bottom of the stairs. The opening couple numbers from last years excellent Small Reveal serve as a nice opening and so they proceeded. The music came across very nicely in the intimate setting and people crammed into the room to attentively listen. It is really well written music that comes to life with these six musicians, even if they were forced to be seated/still due to the room's constraints. Even the cover tune worked in well. The blaring brass really complements the guitar work and insistent drumming to bring it all to life. That being said, the final song with just Aidan and his guitar singing Margaret Downe brought it alive too, albeit in another way altogether.

Aidan Knight, BadBadNotGood - Horseshoe CMW (Mar 24/13)

Badbadnotgood

The uber-talented rapscallions of Badbadnotgood played a mix of covers and originals, where the newer ones tended toward free jazz and were harder to dance to due to their unpredictable time signatures. The drummer, keyboardist and bass player were joined on more than a couple numbers by a sax player who was well-loved by the crowd. What isn't to enjoy from these promising (and grateful) youngsters bringing a fresh sound to the indie scene? By the end, following a friend of the band's invited stage dive things really took off. Yes, there was pandemonium in the pit at a jazz show. How badass is that Toronto?

Aidan Knight

Notable differences between the afternoon, apartment show and this were the volume and the energy Aidan could bring us from a standing position with the sound system turned up. The set remainder much the same though time constraints cut their cover (by audience vote) in favour of closing with Knitting Something Nice (Margaret Downe wouldn't have held up to a Saturday night Horseshoe CMW crowd anyhow). It was You Will See the Good in Everyone that most impressed this fan though. Now a little more banter while you change your tuning between every song and some playlist variation and I'll be able to say Aidan Knight is the new Dan Mangan.

Stars, Yukon Blonde - Danforth (Mar 20/13)

Yukon Blonde

Unfortunately for those who hadn't yet arrived to fill the spacious Danforth Music Hall, Yukon Blonde came bursting out of the gate with three strong tunes. In front of a mosaic of a tiger's face they ripped My Girl, Radio and Six Dead Tigers on their guitars. They've certainly got the rock'n'roll look down with the shock of hair on all heads and most faces, the gaunt guitar-arms (minus the avocado tats) and the tight, is-it-ironic?-retro Wallflowers tee and the sound to go with it. Brides Song ended with some sweet guitar  and Loyal Man featured shaker percussion off the top which fit the laid back crowd who didn't really give much of a response until Stairway dropped. Could have been a set closer but instead they went with a longer, slow jam to ease off the stage and make room for the main even.

Stars

A night of sex with Stars. It was the first of two darn-near sold out nights in what they were lovingly referring to as their hometown all of the evening (where they grew up, despite starting the band in Montreal) and they were dressed for it. Glasses abounded as Torq went for a hip professor look, and Chris Seligman (keys), Evan Cranley (bass/keys) and Pat McGee (drums) all glammed out in sunglasses, while the relatively recent guitarist was the most subdued of all. Amy attracted attention in her black dress to complement her sultry voice. That voice that was eventually uncovered once they worked out vocal sound issues on opener Theory of Relativity (though as is becoming apparent, the Danforth is never perfect when it comes to sound). With their massive back catalogue it was interesting to note the song choices to fit the theme, though 2012's The North was still well-represented as this is their first solo tour following its release (having opened for Metric's stadium tour late last year). Fixed followed and then string wizard Nick Zubeck unostentatiously joined them for A Song is A Weapon.

To this point the few songs had all come from the previous two releases but the next was to please many more in the now-filled room as Amy played guitar and wonderfully sang Ageless Beauty from their breakout release from way back in 2004. Following a very minor rant from Torq, one of surprisingly few, about the winter weather they sang The North as a duet while 'snow' fluttered down upon us but it ceased for the still-should-have-been-a-hit We Don't Want Your Body. The song oozes with sensuality and the enduring chemistry between these stars allows it to be continually believable live. Amy's enthusiasm was notable for Backlines and then the mood changed.

Everything stops when they sing this song as it is so emotional and utterly devastating in its simple delivery. That is why it is understandable that I've only seen it performed once before, immediately following its release, but given the right circumstances it is a punch to the stomach. The crowd went silent and sucked in the beautiful, heartbreaking Personal.

Following Personal is surely a challenge and they went with a rare song that I didn't recognize, introduced by Amy saying it was about losing your virginity in a park - which Torq claimed he didn't know until that point. It was an upbeat number sang by Amy. They brought it back with a familiar number following this - Soft Revolution - but then reached way back for another treat for long-time fans. In fact Torq thanked those in the audience who'd come back to see them "two, three, four.." and proceeded to count to "15 times. Thank you!" [This was only my eleventh] and then played a song from the very early Stars days that had fallen out of rotation (if it had ever even been in it). Krush was the song, the opening number from The Comeback EP released in 2001, and it still played very well twelve years later (as Amy softly sings "Fuck you Hollywood, I'm the glory.") From a throwback they merged directly into last year's Loose Ends Will Make Knows seamlessly.

Sure they'd had to build up steam but it seemed around here that the momentum took hold and they bustled along with the audience fully on board. Burning through the acoustic guitar featuring Life Effect, Midnight Coward, and The First Five Times they had us by the heartstrings. Torq was also feeling the moment and demanded the house and stage lights dim - and I paraphrase "Screw the movie, we can't sing a song about fucking someone until death with the lights on" and then played that exact song - One More Night. This also allowed the swooping lights to be cast on the walls for North highlight Hold On When You Get Love.. which saw Torq embracing his tech with a beaming smile while the tech frantically tried to fix some gear.

Now Take Me to the Riot had the crescendo of a showstopper; it really soared and crashed and had hearts and heads and voices high but it would not close the show. No, they went with Walls - a gorgeous new song  that allowed the members to leave the stage, drifting away in the falling snow as if in the dream they sing of.

If they thought they'd leave after a set like that, they were mistaken. (I'm sure they didn't think that at all). Amy returned with the touring electric guitarist (no slouch either) and she sang My Favourite Book - a lovely rendition of the song that finally allowed the song to win me over. She even had us sing the echo which was a nice touch. That served as a vocal warm-up for us as we couldn't help but take over Your Ex-Lover Is Dead in a union of voices and good cheer. To close the night out right the band meandered around the stage and eventually found themselves all sitting on the front edge of the raised drum platform, enjoying each other and the crowd as they used The 400 to send us off right. It was a noteworthy moment to cap a night that reminded me just why I have seen them as many times as I have, and why I will be happy to see them again.

Rah Rah, Two Hours Traffic, July Talk, Balconies - Lee's (CMW Mar 21/13)

Rah Rah

As far as I'm concerned Rah Rah stole the show, as they have been known to do. Their energy and stage presence serves them well as they swap vocals, places and instruments throughout the set with mostly seamless transitions. Erin Passmore was slightly under the weather and it showed but only slightly as the other female, Kristina Hedlund, pointed out how great she could sound even while sick. Kristina's own song with leading vocals on the other hand sounded amiss, without explanation. Duet for Emmylou ramped up the fairly full Lee's Palace crowd early and they stuck with them through 20's and onto First Kiss, the closer that came complete with Rah Rah balloons.

Two Hours Traffic
Perhaps it is Two Hours Traffic fatigue, or the fact that they didn't include a whole lot of new material, but it seemed like a run of the mill set from the band. Mind you that still means catchy hooks and sweet guitar melodies, there just wasn't much to push their 35 minute showcase over the edge. The fact that it was a CMW showcase probably explains the leaning on go-to's like Stuck for the Summer and closer Heroes of the Sidewalk but for longtime fans it left just a little to be desired. We wanted to hear more of Foolish Blood but would have to be content with the four, including Audrey, Magic and top track Amour than Amis.

July Talk
Four relatively non-descript guys assembled on stage to close out the night. (Okay they're describable - the drummer looked like the not-homeless movie star from Arrested Development and the lead singer had the bad boy look down, or maybe that was based on his behaviour.) The singer started up with his gravelly, punk voice (think Tom Waits) and the musicians backed him and then strutted in the lady of the hour. What a presence she had as she came in, an enchanting visage. Then she sang and I realized that under that brown, fur jacket, jean shorts, fishnets, and white shades was a voice to offset that growl nicely. As hinted, the lead singer was quite mischievous, pushing his guitarist around, kissing band members on the cheek, and playfully tugging at the lady's eclectic apparel. At one point the two with the mics knelt down to worship at the feet of their guitarist who laid down an excellent solo. It wasn't the set I was expecting having listened to a couple songs in preparation but it was highly entertaining. Another hometown band to cheer on.

The Balconies

You could hear her from the short line on Bloor as The Balconies Leading Lady started up in full rock star mode. She sure can command a crowd with her dancing thighs, wild eyes and whipped black hair; her antics really proved how she could soak up the limelight. The 4 piece band weren't too shabby either as they rocked hard in a grungy, 80's-rock way, laying on thick bass lines. In their denim vests and jackets they performed a show that was full-on and won over many in the surprisingly packed Lee's Palace.

Rich Aucoin - Drake Hotel (Feb 21/13)

The Drake has celebrated Rich Aucoin on numerous occasions, including the release of his most recent acclaimed record with a concert having a highly sought after ticket. So here he was repaying the favour on their ninth birthday. Despite the cupcakes and balloons it wasn't much of a celebratory atmosphere in the hipster-chic resto-cum-club until Rich graced the stage. Accompanied only by his brother at the helm of the drum kit Rich played a host of keys and synths in addition to prompting the recordings, and of course performed the vocals into either an effect mic or a wireless that allowed him into the crowd. As per usual there was a mélange of video clips, presumably culled from the recesses of YouTube, that had us laughing and cheering in anticipation. Finally Rich laid into his set and as he seems to be able to accomplish wherever he goes, the party took off. Yes, it was a typical Rich set (even predictable being my sixth) but compared to other musicians it is so atypical in its engagement that it can still lead to euphoria. Tossed into his bag of well-documented tricks was a promising new (and short) song - so fresh in fact, he admitted to reading the rhymes sequentially off the insides of his fingers. ("Times like this I wanna be a believer") Gratuitously peppered throughout was his encouragement 'one more time!' which although often untrue successfully prompted increased zeal from the audience members shouting along - an allowable white lie. Following the literal parachute opening, which also literally heats things up, he rode enthusiasm through to a non-encore conclusion. First- and sixth- timers alike left the night beaming as Rich had successful injected some much needed happiness into an otherwise drab Toronto February. Folks shouldn't be blamed if they were to mistake the other notable Happiness Show touring Toronto for this one night event.