Tuesday, April 30, 2013
Maylee Todd - Black Box @ Great Hall (Apr 25/13)
What a relief it was for the uncomfortably loud club scene, with its brain-rattling bass, to finally dissipate after a couple long hours so Maylee Todd and co. could take center stage. Well, at least Maylee took center stage, introduced by her self-proclaimed comedian roommate, and the rest of the stage was crammed with her 7 piece backing band. She opened prettily with her harp and her voice before the bass, guitar, drums, keys, and flute came in. Maylee was dazzling in a shimmering dress (designed by her sister and repeatedly likened to resembling a vagina) and long braids wrapped around her head with emphatic facial makeup Her performance was also dazzling, as she primarily focussed on adding her spectacular vocals to the range of groovy, funky, smooth tunes. She had some help too, audibly from her duo of backing crooners and visually from the synchronized, sparkling dancers that joined her partway through. In terms of song highlights the back to back combo of Baby's Got It and Hieroglyphics were easily it, but the whole show was a performance. The encore resembled a second set, as the dancers entered the crowd as hype men and women, tossing glow sticks and inciting excitement and dancing. An extended breakdown saw an impromptu dance showcase from the crowd, in an aisle on the floor dubbed a Soul Train. Altogether it was a blazing album release party.
Sunday, April 21, 2013
Jenn Grant, Dustin Bentall, Daniel Ledwell - Horseshoe (Apr 13/13)
Daniel Ledwell
Daniel Ledwell had the unenviable early opening slot in a large, mostly empty, drinking hole on a Saturday night. Now his music isn't completely quiet but with just his vocals and an electric guitar there wasn't too much there to overpower so it was fortunate that the seated Horseshoe crowd did pipe down and pay attention. For this they were rewarded with some decent electric tunes and self-deprecating banter, all of which amounted to a reasonably entertaining set. Sure he messed up not just the 80s, sad version, cover song's lyrics but also his own once or twice, but he played it off and it didn't really matter. A sample-free version of I Have Made You a Mixtape rounded out the evening and was met with more than. Polite applause, especially the whistle solo from the freshly arrived crew standing to the side.
Dustin Bentall & The Smokes
A surprise for the evening came in the form of Dustin Bentall & The Smokes. The three-piece rocked hard with listenable rock n roll fused with some country feel, some songs especially more country than others. Word is they are regulars at the Dakota which seems a perfect match for their dusty tunes. In fact, I'd seen one of their songs performed in that space, however not by them but another local band, The Strumbellas, who also love getting high and talk when they're drunk. A particular standout which made one want to guzzle booze sang 'I like to drink whiskey and I like girls who do too.' Midway through the singer stood alone for a solo rendition of a recently written song made all the more poignant when dedicated to the recently passed Jay Smith. In further tribute upon the band's return they covered a Jay Smith song. All in all they were solid musicians performing a fun, energetic rock set and have convinced me to down half a bottle of bourbon for their next Dakota set.
Jenn Grant
Ms. Grant appeared in her sparkling blouse against a sparkling Horseshoe Tavern backdrop to an enamoured crowd of fans and friends, many of whom are respected in their own right in the Canadian music scene. Everyone had come out for the likeable leading lady who did did her thing, backed by her husband on guitar and keys, a drummer and bassist. They played a variety of her songs throughout the night to the appreciation of the room, including Oh My Heart and Dreamer. Jenn did not seem to have quite as loose a tongue as she has been known to have but was endearing nonetheless. Her husband, Mr. Ledwell, played a mean slide guitar on a tune, while on another Jenn stood alone and quietly played an electric guitar. Parliament of Owls was upbeat and got people going again near the end of the set, as did In the Belly of a Dragon, and I've Got Your Fire.
In encore she dueted with Daniel on a soft version of Eye of the Tiger to open before inviting the full band back up for the next song and adding Justin Rutledge and Julie Fader for the finale of toe-tapper Getcha Good.
Daniel Ledwell had the unenviable early opening slot in a large, mostly empty, drinking hole on a Saturday night. Now his music isn't completely quiet but with just his vocals and an electric guitar there wasn't too much there to overpower so it was fortunate that the seated Horseshoe crowd did pipe down and pay attention. For this they were rewarded with some decent electric tunes and self-deprecating banter, all of which amounted to a reasonably entertaining set. Sure he messed up not just the 80s, sad version, cover song's lyrics but also his own once or twice, but he played it off and it didn't really matter. A sample-free version of I Have Made You a Mixtape rounded out the evening and was met with more than. Polite applause, especially the whistle solo from the freshly arrived crew standing to the side.
Dustin Bentall & The Smokes
A surprise for the evening came in the form of Dustin Bentall & The Smokes. The three-piece rocked hard with listenable rock n roll fused with some country feel, some songs especially more country than others. Word is they are regulars at the Dakota which seems a perfect match for their dusty tunes. In fact, I'd seen one of their songs performed in that space, however not by them but another local band, The Strumbellas, who also love getting high and talk when they're drunk. A particular standout which made one want to guzzle booze sang 'I like to drink whiskey and I like girls who do too.' Midway through the singer stood alone for a solo rendition of a recently written song made all the more poignant when dedicated to the recently passed Jay Smith. In further tribute upon the band's return they covered a Jay Smith song. All in all they were solid musicians performing a fun, energetic rock set and have convinced me to down half a bottle of bourbon for their next Dakota set.
Jenn Grant
Ms. Grant appeared in her sparkling blouse against a sparkling Horseshoe Tavern backdrop to an enamoured crowd of fans and friends, many of whom are respected in their own right in the Canadian music scene. Everyone had come out for the likeable leading lady who did did her thing, backed by her husband on guitar and keys, a drummer and bassist. They played a variety of her songs throughout the night to the appreciation of the room, including Oh My Heart and Dreamer. Jenn did not seem to have quite as loose a tongue as she has been known to have but was endearing nonetheless. Her husband, Mr. Ledwell, played a mean slide guitar on a tune, while on another Jenn stood alone and quietly played an electric guitar. Parliament of Owls was upbeat and got people going again near the end of the set, as did In the Belly of a Dragon, and I've Got Your Fire.
In encore she dueted with Daniel on a soft version of Eye of the Tiger to open before inviting the full band back up for the next song and adding Justin Rutledge and Julie Fader for the finale of toe-tapper Getcha Good.
Tuesday, April 9, 2013
Jamie Lidell - Lee's Palace (Apr 8/13)
Jamie Lidell
With the stage set for a remarkable spectacle it seemed that the visually stimulating light show was going to be the thing to comment on, but in fact it was the man himself that provided the entertainment. Yes, there was a white backdrop and host of lights beaming all around, including a 21st century visualizer that created funky effects throughout the room, all of which just helped to illuminate the one-man show that is Jamie Lidell. Emerging in the darkness, in a trenchcoat of sorts, he waved and glad-handed those in the first row before climbing behind an angular, shiny, metallic booth that served to reflect the lights right back at us. It also served as the place where he made his music come true.
Opening with this year's eponymous opener, I'm Selfish, Jamie proved to be anything but, as he poured himself into this solo performance. His voice has an incredible range and after this much time in the game he sure knows how to pump the most out of it. Not only that but his musical intelligence is top-notch as displayed via sampling and remixing A Little Bit More. He alternated between creating the songs through looping and effects, and just letting the track play and coming out front to showcase that funky, soul voice, including a showcase of a song written with a couple Canadians, Chilly Gonzales and Mocky. Personal highlight of the night was the awesome and danceable What a Shame that hit on all levels, especially with the on-the-fly production. He jokingly referred to a Compass (2010) track (I Wanna Be Your Telephone) as a classic but also played some throwbacks to 2005's Multiply in When I Come Back Around and Multiply. He credited that last song with playing a huge part in his success, and it did stand out as the first encore song, as he held the mic out to people in the crowd to sing along - a very unfortunate exercise compared to his accomplished voice. The finale was a new tune in Big Love which at first felt like it might not be the best choice but by the end he had the whole crowd in the call and response shouting "Big Love" and deserved big love right back at him.
Ludwig Persik
Leather jacket, black skinny jeans, Cons. Without much fanfare Ludwig Persik began his set with the tap of a toe to start his prerecorded track (apparently recorded with Mr. Lidell at his Nashville studio) while in his mitts was an electric guitar. He fiddled about with this while singing and grooving along. There was little fanfare following the first track also, as there really wasn't a whole lot there to get excited about. His dweeb persona and ineffectual voice didn't totally help the cause. Actually one of the few things that did were the appearance of a slender lady who came to shimmy alongside Ludwig on stage. It was an awkward show of support, especially as the song soon ended and was followed by a 'sad song' during which she slipped away. As Lee's Palace filled in, the applause did increase in conjunction, and surprisingly it wasn't overly chatty throughout as Toronto can be, but there weren't a whole lot of lasting memories made either.
With the stage set for a remarkable spectacle it seemed that the visually stimulating light show was going to be the thing to comment on, but in fact it was the man himself that provided the entertainment. Yes, there was a white backdrop and host of lights beaming all around, including a 21st century visualizer that created funky effects throughout the room, all of which just helped to illuminate the one-man show that is Jamie Lidell. Emerging in the darkness, in a trenchcoat of sorts, he waved and glad-handed those in the first row before climbing behind an angular, shiny, metallic booth that served to reflect the lights right back at us. It also served as the place where he made his music come true.
Opening with this year's eponymous opener, I'm Selfish, Jamie proved to be anything but, as he poured himself into this solo performance. His voice has an incredible range and after this much time in the game he sure knows how to pump the most out of it. Not only that but his musical intelligence is top-notch as displayed via sampling and remixing A Little Bit More. He alternated between creating the songs through looping and effects, and just letting the track play and coming out front to showcase that funky, soul voice, including a showcase of a song written with a couple Canadians, Chilly Gonzales and Mocky. Personal highlight of the night was the awesome and danceable What a Shame that hit on all levels, especially with the on-the-fly production. He jokingly referred to a Compass (2010) track (I Wanna Be Your Telephone) as a classic but also played some throwbacks to 2005's Multiply in When I Come Back Around and Multiply. He credited that last song with playing a huge part in his success, and it did stand out as the first encore song, as he held the mic out to people in the crowd to sing along - a very unfortunate exercise compared to his accomplished voice. The finale was a new tune in Big Love which at first felt like it might not be the best choice but by the end he had the whole crowd in the call and response shouting "Big Love" and deserved big love right back at him.
Ludwig Persik
Leather jacket, black skinny jeans, Cons. Without much fanfare Ludwig Persik began his set with the tap of a toe to start his prerecorded track (apparently recorded with Mr. Lidell at his Nashville studio) while in his mitts was an electric guitar. He fiddled about with this while singing and grooving along. There was little fanfare following the first track also, as there really wasn't a whole lot there to get excited about. His dweeb persona and ineffectual voice didn't totally help the cause. Actually one of the few things that did were the appearance of a slender lady who came to shimmy alongside Ludwig on stage. It was an awkward show of support, especially as the song soon ended and was followed by a 'sad song' during which she slipped away. As Lee's Palace filled in, the applause did increase in conjunction, and surprisingly it wasn't overly chatty throughout as Toronto can be, but there weren't a whole lot of lasting memories made either.
Sunday, April 7, 2013
Frightened Rabbit, Wintersleep - Phoenix (March 31/13)
Wintersleep
Despite a home-country crowd that seemed to be in their corner Wintersleep still had to prove themselves in the first few songs, and they proved to be up to the challenge. This quartet consists of some of the finest musicians assembled in a rock formation and so their live performance of recent songs such as In Came the Flood and Resuscitate only served to prove this fact, and in doing so win over the crowd further. There was an even newer song (Margaret?) played as well which was slightly slower and darker than the majority of their stuff but progressed nicely. Mind you there was a slight mid-set lapse, with one of the first renditions of their biggest hit Weighty Ghost that did not wow and bowl people over. However after a couple more songs in purgatory they were able to win us back over with the instrumentation and passion in their final few songs, culminating with the undeniable Oblivion. Although it was a supporting role, and songs like opener Hello Hum had to be trimmed, they still were a Canadian force and a great opener for the likes of the Scots in Frightened Rabbit.
Frightened Rabbit
There was nothing timid about these lads who came out to a rapturous response from the early sell out audience. The lead singer, Scott Hutchison, seemed at ease in his role and genuinely seemed appreciative of the love and energy pouring to the stage all night from the Easter audience all hopped up on chocolate rabbits of their own. Along with his cohorts they poured the energy back to us through the music as there was a wall of bass and guitars, with an acoustic guitar always present amongst them, and some keys and synths, plus a sixth member joined a handful of songs usually as secondary percussion like on Late March, Death March. The band had come onto my radar due to this year's release, Pedestrian Verse, and they played a number of favourite tracks from it including Oil Slick as well as what must have been older material dating back to their beginnings in 2004. Others around me ate it all up, singing along (some louder than others, many who shouldn't have been) and being delighted by the greatly entertaining band.
Partway through the set the band was excused and the lead singer played a solo acoustic number before having the electric guitarist, who at time sounded like a lap steel but wasn't, join him for the next track. During this Hutchison lost his place in the song and then stopped to have us all wave to the bunny-eared bartender who had distracted him before carrying on and having the band swarm back in to close the tune out. Speaking of closing out - the finale was Acts of Man and it is my favourite live song of the year thus far. It began even quieter than the recorded version and built up even stronger. By the time the strobe lights were pulsing so was the dynamic drumming and the guitars wailed to crescendo that saw Hutchison toss his guitar down to the stage before exiting to the sounds of reverb. Phenomenal!
Despite this climax the techs moved around the stage carefully (and slowly) setting things up for the encore which consisted of The Woodpile and Living in Colour. The very last song saw all the Wintersleep boys join them back on stage in a blissful rock'n'roll love-in.
Despite a home-country crowd that seemed to be in their corner Wintersleep still had to prove themselves in the first few songs, and they proved to be up to the challenge. This quartet consists of some of the finest musicians assembled in a rock formation and so their live performance of recent songs such as In Came the Flood and Resuscitate only served to prove this fact, and in doing so win over the crowd further. There was an even newer song (Margaret?) played as well which was slightly slower and darker than the majority of their stuff but progressed nicely. Mind you there was a slight mid-set lapse, with one of the first renditions of their biggest hit Weighty Ghost that did not wow and bowl people over. However after a couple more songs in purgatory they were able to win us back over with the instrumentation and passion in their final few songs, culminating with the undeniable Oblivion. Although it was a supporting role, and songs like opener Hello Hum had to be trimmed, they still were a Canadian force and a great opener for the likes of the Scots in Frightened Rabbit.
Frightened Rabbit
There was nothing timid about these lads who came out to a rapturous response from the early sell out audience. The lead singer, Scott Hutchison, seemed at ease in his role and genuinely seemed appreciative of the love and energy pouring to the stage all night from the Easter audience all hopped up on chocolate rabbits of their own. Along with his cohorts they poured the energy back to us through the music as there was a wall of bass and guitars, with an acoustic guitar always present amongst them, and some keys and synths, plus a sixth member joined a handful of songs usually as secondary percussion like on Late March, Death March. The band had come onto my radar due to this year's release, Pedestrian Verse, and they played a number of favourite tracks from it including Oil Slick as well as what must have been older material dating back to their beginnings in 2004. Others around me ate it all up, singing along (some louder than others, many who shouldn't have been) and being delighted by the greatly entertaining band.
Partway through the set the band was excused and the lead singer played a solo acoustic number before having the electric guitarist, who at time sounded like a lap steel but wasn't, join him for the next track. During this Hutchison lost his place in the song and then stopped to have us all wave to the bunny-eared bartender who had distracted him before carrying on and having the band swarm back in to close the tune out. Speaking of closing out - the finale was Acts of Man and it is my favourite live song of the year thus far. It began even quieter than the recorded version and built up even stronger. By the time the strobe lights were pulsing so was the dynamic drumming and the guitars wailed to crescendo that saw Hutchison toss his guitar down to the stage before exiting to the sounds of reverb. Phenomenal!
Despite this climax the techs moved around the stage carefully (and slowly) setting things up for the encore which consisted of The Woodpile and Living in Colour. The very last song saw all the Wintersleep boys join them back on stage in a blissful rock'n'roll love-in.
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