Showing posts with label owen pallett. Show all posts
Showing posts with label owen pallett. Show all posts

Saturday, November 9, 2019

Owen Pallet - Longboat (Great) Hall, Toronto Nov 9, '19

Camille Elle from Army Girls took to the stage first with a couple of electric guitars for herself. At first it didn't seem all that inspired singer-songwriter but after she introduced herself and admitted to some of her anxieties leading up to the show the crowd got behind her and things improved. The start of the upswing was when she played an Army Girls song that had some more oomph, followed by a self described "It Gets Better" song addressed to her teenage-self that further endeared us to her. From there it was smooth sailing as she got stronger with her stage presence, vocals, and just the overall flow to the set.


Owen came to the stage in a long, see through black robe of sorts. While tuning up he introduced himself and warned anyone who has attended the previous night (added due to popular demand) that it would be a near identical repeat "but I'll play it better." In his charming manner he explained that it was a cohesive set, best run uninterrupted and kindly asked us to hold any clapping until he gave us the go-ahead. With a guitar strapped on his back and a violin hung from his mic stand he began as a projection faded in from black behind him. It was a new, lighter take on an In Conflict track to start us off. From there he followed with mostly new songs through the main set, much of the instrumentation coming from the guitar, although his signature violin still featured well. Overall it was a more soothing sound than his earlier frenetic Final Fantasy music, still building songs layer upon layer via his looping pedals as there were no other musicians, yet it showed a lot more restraint. The base layer of the songs was often from the guitar before adding the violin and finally that beautiful, delicate voice of his. The visuals, by a woman named Trudy, continued in their very slow panning through abandoned towns, fields, valleys, and coasts. It was all lovely though it may have been better suited for a sit-down show due to the pace and the fact that it was predominantly new material.


Later on, he did include a couple of released songs, primarily from In Conflict including an album highlight The Passions, some as originally recorded while others got a new take. Finally he broke and was washed over with applause before playing one last song - I believe this was the moment of a personal favourite, Lewis Takes Off His Shirt. Taking a small pause backstage I really wasn't sure what to expect from this evening, whether that was it, but alas he returned for a few more which helped to make up for the indulgent first half. But first he had a chat with the audience and took questions, including "when is It out?" to which Owen gave the unclear response "It. Funny thing is, it's been finished for nearly two years. I listen to it sometimes; it's really good." Another was "when are you playing Toronto again?" which was met with mock outrage "I haven't even finished this set!" There was also banter about how he lives five minutes from the Great Hall and that he actually walked over, though the question about an afterparty at his was met with a laugh "Afterparty? There will be copious amounts of herbal tea." In terms of music he introduced I Am Not Afraid as "my favourite song that I've ever written; I'm just happy I finally learned how to play it." To close it all off was the song that has had many renditions and is a live show stalwart, This is the Dream of Win and Regine, which reminded me of the amazing way Pallett's violin loops and voice can draw me in and take me on a musical wave all while stood in a darkened club. Thanks Owen, looking forward to It.

Sunday, February 1, 2015

Owen Pallett - Lee's Palace (Jan 31/15)

Before the set began the mystery was "what is under the camouflage tarp?" but practically the instant a bearded Owen Pallett confidently appeared onstage the attention was focused on him and his violin, with little else necessary. Joking about it being his first time in the city (a former resident), how much he likes it and may have to come back he then launched into a solo rendition of That's When the Audience Died, a song from the album that launched his solo career. Remaining in the Final Fantasy era he then played a beautiful rendition of a personal favourite, This Lamb Sells Condos, before being joined by his band members, Robert Gordon and Matt Smith formerly a band including Owen, Les Mouches. With this fuller sound they very cohesively tackled the more sonically dense albums Heartland and last year's In Conflict, arguably Owen's best work to date. There was some especially enjoyable drumming but Owen easily remained the focal point, extracting audible elixir from his violin, the bow his wizard's wand. Later he took another turn sans band which included the moving I Am Not Afraid - an early standout from In Conflict (the only shame of the afternoon was not getting to hear others such as The Passions and the title track.)

When the pair returned to the stage it was for a powerful closing segment that seemed destined to be highlighted by Infernal Fantasy, an incredibly fast-paced song which showcased the strobing of the mirrored lightbox that was uncovered from its camouflage. And yet despite this driving, heart-pounding performance they continued it with The Riverbed and even after it died away in a joyous crashing climax The Great Elsewhere sealed the set. Oh boy, what an incredible performance with Owen laying it all out there.

Amazingly there was more than a little left in the tank as he reappeared on his own after only a short delay to open the encore with a cover of Tori Amos' Pretty Good Year - a song I was previously unfamiliar with but enjoyed nonetheless. Knowing how to close out it was all hands on deck for two excellent Heartland songs split by another perfect throwback in This is the Dream. There is a reason I say that Owen Pallett is my absolute favourite live, solo, Canadian artist. Hell, with performances like this I may be able to remove all of those qualifiers

Opener: Foxes in Fiction

(solo)
That's When the Audience Died (Has a Good Home)
This Lamb Sells Condos (He Poos Clouds)
(band)
Midnight Detectives (Heartland)
Keep the Dog Quiet (Heartland)/Mount Alpentine (Heartland)
Soldier's Rock (In Conflict)
Tryst With Mephistopheles (Heartland)
(solo)
E is For Estranged (Heartland)
I Am Not Afraid (In Conflict)
Song for Five and Six (In Conflict)
(band)
The Secret Seven (In Conflict)
Infernal Fantasy (In Conflict)
The Riverbed (In Conflict)
The Great Elsewhere (Heartland)

-Encore-
(solo)
Pretty Good Year (Tori Amos cover)
(band)
Scandal at the Parkade (Heartland)
This is the Dream of Win & Regine (Has a Good Home)
Lewis Takes Off His Shirt (Heartland)


Foxes in Fiction - Lee's Palace (Jan 31/15)

This three-piece was already making their ambient, dreamy bedroom-pop reminiscent of Memoryhouse when I arrived to their afternoon opening set. With a male lead on electric guitar and primary vocals plus beat machine, the female played keys and synths - adding her lovely voice sparingly throughout the set. Owen Pallett was happy to give them the spotlight and play his violin in the background. Each song was well-crafted and really filled the room even at manageable sound levels, winning over the packed all-ages room who clapped enthusiastically to the understated pleasure of the leading-man of few words.

Tuesday, August 9, 2011

Owen Pallett and Beirut (Phoenix, Aug 4, 2011)

Owen Pallett is worth the price of admission alone. And alone is how he began the show - recreating a song he wrote alongside Beirut with just his vocals, violin and looping machine. The highlight of my entire night followed as still solo he did an impeccable version of Scandal at the Parkade that had my hair raised, along with the corners of my lips in a broad unceasing grin. I could have gone home happy.

Naturally this was nowhere near the end and Owen invited the recently somewhat-reunited Les Mouches to join him on drums and shaker for Midnight Directive. I was apprehensive about any accompaniment, as part of the magic is realizing that every sound heard has been produced by this one genius of a man, however the additional instrumentation really just filled out the sound (especially for the orchestral Heartland songs) without being overbearing. Even when shakers were swapped for guitar on subsequent A Man With No Ankles and the wonderful Lewis Takes Action I began to more fully accept them.


Having joked earlier about a night of dry banter and plenty of music, Owen gave us the story of how Tryst with Mephistopheles was the abridged version of a ninety minute opus (Dammit?) that really favored G-major. With the joyous trumpet provided mid song by the Beirut trumpeter subsiding into the ominous key ending, this live rendition definitely benefited from the fleshed out band. The new song that followed was actually very much drum driven, and impressive as such, with Owen touching only the keys and not his violin.

Once again Owen found himself alone on stage to perform the cover of Caribou's Odessa to the crowd's adoration. Sadly upon the band's return there was a looping machine malfunction meaning we got a tease of This is a Dream (or was it Many Lives?). Either way we didn't get to hear it and instead of fix the computer the band was again dismissed in favour of a loop-free rendition of He Poos Clouds. The crowd showed massive appreciation for Owen's first hometown show in some time, and despite the bittersweetness of the missed song, there was more than enough included to be happy about.


Beirut
Beirut, like Owen, craft pop music out of unconventionally pop instruments. The most notable here is the 120 button accordion and the mixture of brass from half of the six members. No guitars in sight, unless you count the bass, which was at times swapped for the stand up variety anyway. Admittedly I'm not overly familiar with their catalogue despite a bit of cramming in preparation but the music was obviously well done. And obviously appreciated by the crowd as well - I was surprised at just how enthusiastic they were. This may have been part of the reason their encore consisted of a full four songs, and understandably included Owen on violin (and one of three backing vocals) for the final two. Even if I came primarily for the Pallett spectacle this was a sweet bonus to go along with it!