Tim Baker - Hare on the Hill, Bristol Jan. 31, '20

Nico Paulo

Stepping into The Hare on the Hill I found myself entering a very intimate show already underway. In fact, I nearly trod on Nico's toes as she was stood by the bench seat in the corner of the pub playing her set. With it being ticketed entrance only, the entire bar's attention was fixated on the entertainer, and by proximity me as I intruded on this. The positive to come out of this was the great vantage point that I held for the rest of the night, even if it meant guarding the door for all other latecomers. This being a music blog I should speak about Nico who played some delicate songs on her guitar, with her whisper-strong voice. She was endearing and won over the crowd easily, myself included, even having walked in never hearing her name, let alone her music before.

Mark J. Lee

A dapper, local English musician playing some pretty standard country music. He'd been on the bill so I'd briefly checked him out beforehand and knew that it wasn't really my style, however I'm happy to report it was better live. Especially happy considering there wasn't really anywhere else to go during the set.

Tim Baker

Finally the reason I had rushed home from work abroad and then driven down to Bristol. Tim took to the "stage" with a few different instruments scattered around; a couple guitars, a banjo, and perhaps most importantly, the pub's piano right up against the wall beside him. Starting out expectedly with a few from his first and only solo album thus far, Forever Overhead, he then veered from that (and away from any setlist). Dance is a brilliantly romantic opening tune, both on record and live, that he started with on the piano, while then doing renditions of already-excellent All Hands and Spirit. The thing about a talent such as Tim is that he's not going to play the songs exactly the same way as the album, and dating back to the Hey Rosetta! days no two sets are exactly alike, but you can be damn sure that it's going to be a touching, engaging, and entertaining show. The way that he brought the heartbreak of The Eighteenth Hole alive made you feel it in your chest, while the other kind of heartbreak with respect to the disbanding of Hey Rosetta in Don't Let Me Go Yet touched close to home. But there was joy too - Bandages has the perfect singalong and this rapt crowd was tickled to oblige. Speaking of singalongs, opener Nico seemed to be pulling some strings behind the scenes as Tim tried to make the set list up on the fly and she was roped in for a couple of songs, both as backing vocals and percussion. All of this added a lovely touch to the already cosy show. After a couple of "that should have been the finale" moments felt by both the crowd and Tim (he said so much himself) he was forced to actually close - but how? "May as well play Welcome," suggested Nico, and so he did, to everyone's delight. Early into the stripped back version he messed up the lyrics, quipping "I've played this song a thousand times - actually more than a thousand times!" but we were forgiving and overjoyed anyhow. (And told him as much during a chat afterwards while getting my record signed while he was pinned down in the corner of the pub.)

Menzingers, Spanish Love Songs, Mannequin Pussy - Asylum, Feb 14, '20

Mannequin Pussy

The first to take the stage on this unbelievably stacked bill at The Asylum. We were sure to get there early and yet MP had already just taken the stage, and plenty of people had made their way in for it. A good thing too as all these early-comers were rewarded with a sweet, enthusiastic set of punk rock. Solid as their recordings are, it was agreed that the live set takes that up a notch even. Didn't even think to snap a pic I was so caught up in the show.

Spanish Love Songs

Following their awesome, and undersized headliner last year at The Flapper (R.I.P) these new-emo American guys 'n gal were back in a deservedly bigger room, albeit in a supporting role. The way they play I'd be happy to call them a co-headliner though. With a well-picked setlist of many of the best from 2018's Schmaltz as well as highlights from the new-release Brave Faces Everyone (and probably a smattering of older stuff but I'm not yet as familiar with the back-catalog). The crowd was massively enjoying it and nearer to the end of the set as Buffalo Buffalo began the pit really got moving. Did they steal the night? Don't ask me, I'm a big ol' biased SLS convert.

The Menzingers

Now veterans of the 21st Century punk scene, The Menzingers came on with a polished set to prove it. In the very nearly sold out big room of The Asylum on a Friday, Valentines Day no less, there was a palpable excitement in the crowd. Mind you it did take a few songs for the sound to work in and the set to really get going but by the latter half it was in full swing. When one of my songs of the year (2019) in Anna dropped it was riveting. What a show! I'd happily go back and watch this one again, front to back.

Split Milk Society, Amy Louise Ellis - Sunflower Lounge Jan 17 '20

Spilt Milk Society
Having seen these guys nearly a year earlier to the day in the same spot I was looking forward to the set. It was really odd though have them come out of the gate with a very different sound to what I was expecting. I had a difficult time getting into it and they carried on like this, presumably it's a new direction, for the majority of the show. Only with the final couple of songs did it start to sound like something that I could get into. Interesting changes, I suppose.

Odd Soul

This really was an ecelectic bill as Odd Soul played a jazzy brand of soul. As they admitted, it was a lot of their old standards that made the setlist and even resting on their laurels, with a few hardcore fans scattered amongst the crowd, it was just alright. I was hoping to get grabbed and carried away and when I still ended up stood in the basement of the Sunflower I was a little disappointed.

Cherry Cherry
A five piece playing some "modern indie rock" I believe I stayed for the whole set, but writing this less than a month later I can't recall anything standout.

Amy Louise Ellis

This young chanteuse sure has the pipes. Though the first couple of songs, set over her friend's electric guitar, didn't blow me away there were a couple near the end the really showed her voice off. The Lauren Hill (or was it The Fugees?) cover was also excellent. Raw, local talent that just needs to find her place.

Pkew Pkew Pkew, No Bro, Eamon McGrath - Horseshoe Tavern Jan.10 '20

Pkew Pkew Pkew

The reason for the night came onto the stage like a hometown crowd should - to cries of joy. It wasn't some intense, outpouring or anything - they did play this exact venue less than a year ago - but the ovation from the full, but not sold out house was strong. Similarly, the set was very enjoyable and appreciated but they are not setting new highs with their small-town Ontario tales of drinking, skating, and hanging out. The crowd did get into it and by third song, I Wanna See a Wolf, I was compelled to join the fray. To our credit we moshed the entire way through, enjoying strong tracks like Asshole Pandemic and 65 Nickels, with an incredible amount of body surfing too. There were 3 or 4 people going up at a go, one of whom decided to test the strength of the plumbing pipe that runs across the ceiling; fortunately for us all it held. Near the end there was a song or two not from either of their album releases which didn't quite get as much love as the well known tunes. After 45 minutes of short, ripping songs they waved goodbye, with their perpetually grinning bassist departing last. But in the preorchestrated world of concerts, even without much of a roar (more of an expectant pause), they returned to the stage gushing their thanks to us. They did a couple, finishing with Glory Days, which was the correct call if you ask me, and sent us out into the early morning hours sweaty and happy.

NOBRO

Man, or should I saw "Woman!" - what a treat this was. This four-piece, using secondary percussion including bongos and electronic drums were stellar. They also had a great guitarist though the singer was stronger with vocals, naturally, they all did some instrument swapping along the way. Even as the second band on the bill, after a snoozy (good snoozy) opening from Eamon these gals got the pit moving so kudos to that. For the finale they really decided to kick out the jams. One to watch, I'm glad I got to catch them on their way up.

Eamon McGrath
Accompanied by another fellow, also playing acoustic guitar they went through a solid folk set that even had the filling-in crowd respectfully quiet. A standout display of songsmanship was seen on especially on Guts.

Barasso 

Warming the way jsut before PPP! this four-piece, all-male francophone band played some bludgeoning punk rock. It wasn't bad but was all a little samey (I hit the john). At one point they bantered, in English, "we're singing in French but you don't care do you? It doesn't matter."

Top Ten 2019 - Year in Review

1. Dave - Psychodrama
Marvellous. As in, every time I listen to this album I marvel at how exquisite it is. Nothing is overlooked, from the varied and interesting beats, to the high production value, the quasi-concept album thematic, and most importantly Dave's astounding word play. It's impossibly clever and impeccably delivered, including hooks, social commentary and downright funny jokes; I discover something new each time without even consulting Genius.com. Lesley may be the best tale in a tune of the year - please, sit down and listen. Santan Dave's wisdom, vision, execution, skill, voice, and, yes, piano-playing are all on display in this damn-near masterpiece of a rap album.

2. default genders - main pop girl 2019
I couldn't get enough of this album and still cannot describe properly why. It is a super-pop album that swaps genres at blistering speed, many of which I wouldn't normally find myself listening to but here it just works. Lyrically it tells some tales, again things that I wouldn't necessarily relate to, but there I was putting it on for my morning run for the 50th time months later. Just give it a try.
(Not available on Spotify but grab it from Bandcamp PWYC, including free)

3. Snotty Nose Rez Kids - Trapline
Late to the party, I'm glad to have caught onto this blazing band this year. With their unreserved Reservation-rap (okay, I made that term up) they pull no punches in upping their lives and their lifestyles through song. It is fresh, eye-opening and altogether ass-shaking. Unfortunately I haven't yet caught them live but their Insta-stories sure do make it look like it absolutely goes off! It's a good time to grab hold as these high-fliers are taking off.

4. Sigrid - Sucker Punch
Diamonds, sapphires, rubies - this album is full of pop gems. A rising star, Sigrid has the voice and the musical sensibilities to burn long and bright. Anytime I was looking for an accessible and mostly upbeat shot of music this year, Sucker Punch was an easy fix, and it held up on the repeatability too. But there's a depth to it as well with emotional songwriting that tackles real feelings without drowning the listener in sorrow. Sigrid's versatility makes this a complete album.

5. Sir Babygirl - Crush on Me
Unabashed retro-beats pop music - I'd read someone liken it to a pumped up Britney Spears album for 2019 - and Sir Babygirl plays with expectations with glee. Starting with that gender-fluid name they don't hold back on the glorious 26 minutes of this album (I looked it up, it's not an EP), including two reprises! Haunted House is the standout, with that chorus raising more questions than answers, and the album is perfectly punctuated by the tongue-in-cheek closer, Crush On Me. All I want is more.

6. Black Midi - Schlagenheim
Defying conventions, these music-school nerds have gone ahead with a gloriously indulgent album that brings many influences together to make something so new. Based around their impressive individual instrumental skills they've managed to flaunt their musicianship appropriately. The math-rock elements, the "unique" vocals, and the varying signatures make for an eclectic mix that keeps the listener guessing but it's a challenge worth taking.

7. Tim Baker - Forever Overhead
Fronting one of my all-time favourite Canadian bands, Hey Rosetta!, could be either a blessing or a curse when it comes to the first solo offering. Would Tim be able to live up to the heightened expectations without the six super-talented musicians supporting him in both the songwriting and performing? I'm happy to report that this is a very worthwhile offering that doesn't try to recreate the magic of HR! but maintains the eloquent lyrics in an appropriate, slightly stripped-back, singer-songwriter context (still showcasing some of Tim's piano too).

8. Better Oblivion Community Centre - Better Oblivion Community Centre
This combination of a couple of true, through-and-through songwriters has struck gold symbiosis. Coner Oberst (Bright Eyes) and Phoebe Bridgers could both play their way out of a troll's trap alone so when they joined forces for BOCC it was like giving both of them a turbo boost. The songwriting is impeccable and the interplay is excellent. Released early in the year it has been an album that has never really left the rotation and still plays frequently and with much adoration.

9. Sacred Paws - Run Around the Sun
An upbeat, carry-you-along album filled with quirky and catchy ditties highlighted by the back-and-forth vocals of this cross-UK-border, female duo. It's music for any bright occasion, or even to make a not so bright time, like dusting the living room, into an bopping dance party.

10. Vampire Weekend - Father of the Bride
An album that I'd been looking forward to in the long interim between releases that just gave and gave and gave. Yes, it's long but it hardly falters and finishes on a gem. Bringing in the duets and accompaniments throughout manages to keep the songwriting and delivery fresh, for repeated listening (it showed up all over my Spotify year-end breakdowns). Very pleased to have VW back in town.

Honourable Mentions

Shotgun Jimmie - Transistor Sister 2

Jimmie has captured lightning in a bottle again on this revisitation to the Transistor Sister that set a benchmark in his earlier career. Simple, yet catchy and effective, this album can fit most moods.

Pup - Morbid Stuff

Who'd have known that Pup could squeeze so much traction and love out of this genre? Here they are once again giving a damn fine performance and encouraging the kids to get out there and catch them live where they really ignite.

Tallest Man on Earth - I Love You. It's a Fever Dream.

Quietly this album ended up in my year-end conversation by being a lovely accompaniment to those moments of reflection and tranquility.

JOHN (TIMESTWO) - Out Here on the Fringes

Discovering this duo late in the year I was sold from the get-go with their guitar-to-the-wall brand of rock.

Press Club - Wasted Energy

An energetic burst of Aussie punk that enthuses a freshness into the genre.

Sandro Perri - Soft Landing

Similar to In Another Life, this album is anchored by a ploddingly excellent opening track, Time (You Got Me) with a still-strong B side.