The Dodos, Springtime Cannibal - Horseshoe (Mar 3/2015)

The Dodos
This time out The Dodos were stripped back down to the original duo but that didn't limit the amount of notes they played. The songs blister as the drummer raps the edge of his drums or overhand crashes his cymbals while the guitarist plucks and strums his guitar, acoustic or electric alike, utilizing both approaches in such short succession that it's hard to keep up. With minimal looping and backing tracks it's amazing how dynamic they can be but it all seems to stem from the quick and snappy play. By the second tune they were already winning over the strong Tuesday night 'Shoe crowd and that was before they dropped Red and Purple next. Actually despite being on tour for yet another solid album, Individ, they reached back to a good number of deeper cuts and seemed to still be having fun doing it. During a few of the songs the drummer could be seen gleefully singing along out of the mic even to the parts reserved for his partner who was swapping between straight and reverb mic. It was warm in there and they worked up a lather entertaining us before a short break. All the "bros" in the joint cheered them back and then drowned each other out when the duo asked for a request and stood for a laughingly long time attempting to choose what to play. They finally decided on an older track before the preordained closer that saw the return of the opening band lead singer who strummed her electric and sang backup on Don't Try and Hide It. Good show!

Springtime Cannibal were poppy enough of a four-piece with a BBC-Office Dwight on drums, groovy bassist, smiling female key player and perky lead blonde singer. She would have been impressive at a jam session with her voice but altogether it was relatively bland pop, not super hooky. It could have been that her first banter came across as a little stuck up such that I spent the rest of the set trying to get over what seemed saccharine and almost smarmy.

Elwins - Hoxton (Mar 8/15)

The Elwins are a keen, likeable Toronto-via-Keswick band that try to befriend everyone and have grown a large community of friends and followers. Doesn't hurt to give out cookies at your shows either. But bribery and effort can't make up for the unknown element that takes live music from enjoyable to blissful. Their tracks, whether from their debut or this record release, are poppy enough and they seem to be enjoying themselves onstage and yet I have never been able to get truly excited before, during or after a show. Breaking out old single Stuck in the Middle second in the set seemed like a good move to set a good mood but it just didn't carry all the way through. The highlight for me was when the bassist grabbed a guitar and took over leading vocals. Another touch of fun was (High Like a) Bubble during which the cookie lady went through the crowd with a bubble gun. Following a brief departure they returned for a two-song encore that closed with their Beyonce Countdown cover though unfortunately Luke Lalonde, who they have recorded this with previously, was absent. There was nothing inherently wrong with the show but perhaps it just isn't for me.

Lowell - AGO First Thursday (Mar 5/15)

The drummer was in place, the guitarist tweaking the laptop in anticipation of the arrival of the lady of the hour.. Lowell snaked through the crowd with white lights draped along her silhouette on her way to appearing on stage with a smile, a semi-transparent white sweater and some horrid pink-eye boxer shorts. Banter was kept to a minimum making for longish breaks between songs and the little interaction that did happen was awkward and forced. (And I like Lowell.) The opener about The Shit We Do For Love was new as was the next tune; both seem to have taken the gloss off for a slightly edgier sound than the majority of We Loved Her Dearly, with beats bordering on bangers. These new songs worked and she sang them earnestly which couldn't quite be said of the core of the set. Something to do with the spaced-out, all-things-are-magical persona detracted from the presentation of 'hits' - The Bells, Money - especially her careless voice cracking. Even on Palm Trees and Cloud 69 I was thrown, though it may have been the underaged kids who had snuck in front of us (therefore directly in front of Lowell) and appeared to be taking advantage of the alcoholic experience. Funnily enough on the finale, written this week, she appeared more sincere than the previously well-worn tunes and though it wasn't the poppiest number it translated well. I implore Lowell to stick with the skills that brought her this far and lessen the cultivation of this image.