Jeremy Fisher & Kalle Mattson: Canadian Songbook | Rivoli Nov 14/12

Kalle Mattson

Three minutes past the hour and the Rivoli was already seated in darkness, being entertained by the young musician on stage. Kalle (like the trendy chips) Mattson is definitely both of those things; a talented guitarist who writes vivid,  literal lyrics sung in his youthful voice with even some harmonica overlaid for good measure. On one song he began playing with his fingertips and then partway through plucked a pick from his guitar's neck to bring it home with some steady strumming. He indirectly revealed his age but everybody picked up on it and it helped to explain the somewhat limited vocals, especially when compared to his practiced songwriting. Even his calm demeanour worked well comically between songs in the attentive and quiet room. Without his normal backing band the spotlight was appropriately on the songwriting and his multitude of acoustic guitars. Already with some excellent work to his credit, including the standout In the Morning Light, one can't help but relish the potential seen here and eagerly await his more mature output.

Jeremy Fisher

If Kalle is the fresh face then he has Jeremy Fisher, with a number of albums and many more road kilometers under his belt, as a mentor. In fact, they have already collaborated on a song and here they were bringing a special show to Toronto together. Perhaps not a household name, Jeremy is still a seasoned veteran who knows how to handle a room, a battered old acoustic guitar, as well as a hook. 

Breezing through all sorts of songs, despite his minor ailments, Jeremy was a true entertainer judging by the overall engagement with the audience throughout, something that can be difficult for a solo guitarist on a stage. However he brought the stories of the songs home through charm and candor-laced banter that came before, after and even sometimes in the middle of the tunes. He has etched out his own folk-based sound but can also let loose on his strumming as displayed during On My Mind. When he started into Left Behind with its slow guitar picking it could have been mistaken as a tribute to Bob Dylan, who was playing that same evening up the street. Actually he did play a couple of the cover songs featured on his most recent Mint Julep effort, including the French-featuring I Lost My Baby. Another notable inclusion was the seamless descent from Scar that Never Heals into Paul Simon's Me and Julio Down by the Schoolyard complete with harmonica and whistling features. This was a presentation of the Canadian Songbook after all and the choice of performer was justified on The Bride is Dead, a song that is at times touchy, yet hilarious and even in some bizarre way, heartwarming. On a more wholesome and down-to-earth song he captures the allure of grandma's cold cellar with the literal and lovely Canned Goods.

Like a polished politician Jeremy treated this audience as if we were the most important thing to him and as a touring Canadian musician this is likely true and why it seemed so genuine. We ate from his hand as we sang along "this is freedom" and then heartily encouraged an encore which he seemed more than happy to provide. The loud, as well as the quiet, audience members all seemed satisfied with a dynamic final set of three songs. Jolene exhibited his quick fingers, while Lemon Meringue Pie strummed through with an honest and hooky chorus, while the Tetris Song worked an odd context in a lighthearted and revealing way, as only a skilled songwriter can. The encore, as with the entire evening, displayed Jeremy's dynamic approach to songs and songwriting - really making for an entertaining performance and one swell night.

Also played:
Cigarette
Let It Shine
High School
Built to Last

Upcoming in the Canadian Songbook Series

Belle Starr - Wednesday, December 12, 2012

Mo Kenney - Wednesday, February 13, 2013

Tanika Charles - Wednesday, March 13, 2013

Five Alarm Funk (Rivoli, July 5/12)

Besides doing some homework on the day of the show by listening to their online offerings I was not familiar with Five Alarm Funk. That took nothing away from this highly entertaining and engaging set of funk music at the Rivoli. All nine members brought it to the stage, although many did not bring their shirts (while others lost them along the way).

The band centered around the drum kit that was center stage and occupied by the most cheerfully silly man in the world. Surrounding him were a bongo player, two guitars, bass, an equally charismatic keyboard player and the brass section - sax, trombone, trumpet. As they played full fun funk music they added even more with choreographed moves ranging from as little as synchronized swaying to dipping and ducking and all sorts of things. It may sound cheesy but in the show it just added to the let-loose feel of the night. They even took it steps beyond with skits as song introductions, such as mocking music critics. becoming Latin zombies, and an inexplicable gorilla costume that equally inexplicably had the chest cut out. This is likely a terrible explanation of the performance to anyone who hasn't seen it before yet the show itself actually included all of this. And it worked.

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.

Royal Wood (Rivoli Oct 20th)

Stepping behind his piano Royal took his natural place with scant a word. The seated, sold out Rivoli crowd hushed immediately and was henceforth entranced by this marvelous performer. Royal Wood was born to sing - I cannot picture him doing anything else when he croons so smoothly and effortlessly that it is like honey to your ears. A consummate performer as well, he introduced songs such as his moving rendition of Pumped Up Kicks, and even restarted On Top of Your Love due to a sound issue, with charm. Being the Sneak Peek tour he did preview a few new songs, employing a recorded drum beat on one to flush out his one accompanying musician on guitar and bass. But for the most part eyes were on Royal as his fingers danced along the keys or strummed his acoustic guitar. Birds on Sunday was another main-set standout and a part of the reason for the enthusiastic ovation that brought on a two song encore, opened with Juliet. His only fully solo performance could not have been more fitting as Royal brought the night to a close with his most lovely acoustic Lady in White - inviting us to join in for the closing refrain. It is no wonder he added a third (sold out) show to this Rivoli residency - this man is in the upper echelon of the talented realms of Canadian singers.

Imaginary Cities, Bobby Barzin (Rivoli NXNE, June 16, 2011)

Having never seen them before but seriously fallen for their debut Temporary Resident I was pumped for this show and was happy to get into the capacity Rivoli. The show was just about everything I could have hoped for out of a set. They stayed true to the structure of the songs while adding the raw live energy of rocking outros, guitar flourishes and, perhaps most of all, strong lead vocals. Marti Sarbit commanded the mic from the album/show opener Say You, through a smattering of new songs amidst Temporary Resident faves and even a Cake cover (Mexico) for good measure. This capable Winnepeg band secured my attendance at their next Toronto show, whenever that may be! Best of luck with the Polaris Prize.

Also arriving early had the advantage of catching a few tunes from the soulful-beyond-his-young-face, Bobby Bazini and co. This singer songwriter show some real promise in his genre.

Bruce Peninsula (Rivoli NXNE, June 16, 2011)

It was a comeback show of sorts for Bruce Peninsula, meaning that it was an even more joyous affair than the already-wonderful regular BP show. Following a health-battle over the winter, Neil Havarty was finally back at the helm and obviously happy to be there - both through his demeanour and words. With six vocalists across the front, closing down a great NXNE night at the Rivoli they played a handful of songs presumably off the delayed-til-September new album (but unfortunately not their cover of the Swimming Song). Additionally they broke out some old favourites in the form of set closers Steamroller and Crabapples. As if everyone in the room hadn't done enough hollering and hand-clapping they returned to bring the house down, rolling 2nd 4th World War right into Satisfied! I think I've closed with this cheesy line before, but it sure did leave us all Satisfied.

Sweet Thing (Rivoli NXNE, June 16, 2011)

Sweet Thing play catchy indie pop that can border on nauseating, or perhaps that is just the hotter-than-thou antics of their lead singer who spent the entire set posing, flexing or flirting. Luckily the rest of the band were entertaining to draw my attention, especially the bassist who ran and played and sang all over that stage. Opening with Dance Mother was a good sign but I thought there would be more of a dance party beyond the radio single from more than the first two rows of swooning girls. I don't think I'm quite their intended audience so perhaps that was what was missing. Lively enough set, full of pop and swagger, not quite hitting the mark for me.