CMW: Two Hours Traffic, The Reason, Gentlemen Husbands (Horseshoe, Mar 24, 2012)

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.

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.

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.

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.

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.