Dan Mangan, Laura Gibson - Southbank Centre, London - Nov. 13, 2018

Dan entered the hall to a lot of whoops, trailed by the same three band members that had accompanied Laura as this was a shared band tour for these North American co-headliners. Starting off with new album opener, Lynchpin, and Lay Low, I assumed it was going to be the More or Less show which would make sense seeing as it just dropped however the next couple songs dispelled that notion immediately. Wanting to get the longtime fans on board right away he did the mighty Road Regrets followed by Pine for Cedars. After belting it out on Regrets he admitted just how relieved he was to be able to sing again at full volume after losing his voice in Hamburg right at the start of the tour and only now regaining it in full. 

There was a return to the latest with Cold in the Summer which unfortunately was not any extra special live - wouldn't have minded the equally mellow Fool for Waiting instead. Just Fear was next introduced by the tale of writing this while holding his second born in the immediate wake of Trumpy's election, as evidenced by the lyrics. Dismissing the band, who he had reintroduced - the males as old friends and the female as a new one - it became the Dan Mangan show for a few songs. This is quite a departure from the last album and tour circuit where he made a point of naming Blacksmith and calling out their importance to the songwriting process in interviews. He's singing a different tune this time around - metaphorically and literally. More or Less is at first blush a return to his folkier singer songwriter roots although there is definitely maturity and evolution in the songs which had made it another personal fast favourite. And the first fave of the favourite is Peaks and Valleys which he played next. Due to its density on record for some reason I was surprised to see it played just as him and his guitar but it was oh so thick, regardless, with a shout out to the real life Steve and Sally who were in the room (names changed slightly) and who saved his life at Glastonbury with a middle of the night papercup of tea. 

Next up he opened the set up to suggestions and got lots tossed at him, selecting Mouthpiece first, much to the chagrin of the vocal duo behind us. This was solid, still by himself, though my shout was for Jeopardy. Next was Basket which I don't think anyone could be disappointed in - even having seen it umpteen times before it's still such a powerful piece of music. 

Returning to a four piece he introduced the next song as one we could sing along to and sure enough it was his signature piece, Robots. Explaining that the robots are essentially the assholes he encouraged us to give them some vocal love. It was fun as usual but then I was gutted to see them pack up and walk off. What? We just got started! 

Alas after mere moments he returned saying "not much suspense there, was there?" Beckoning Laura back into the stage with just a guitar I thought they might duet on Indie Queens but they went with his more recent Robyn cover, Hang With Me. I wouldn't say they were the perfect couple but it was enjoyable nonetheless. That can't be it though, can it? Nope. Laura stayed and the band returned and played quietly in the background while Dan climbed onto a seat in the front, unfortunately without a spotlight, and led our uhh-uhhhs during his beautiful early song from before he was famous, So Much For Everyone. Lovely, lovely. 

It did feel an altogether too short set after having not seen him in so many years but it was an hour; sixty minutes of magic. 

Laura Gibson
Only minutes after the listed time of 7:30pm Laura took the stage accompanied by an electric guitar player, drummer and female violinist. Together they played a couple of tunes before Laura stopped to have a chat with us. She was charismatic in wishing her patch cable goodbye after all the years, the apparent culprit for a dead set of pedals, and then telling us about her experiences being interviewed around Europe. Apparently the title of her new album, Goners, threw a lot of interviewers off with one asking about her new album 'The Condemned' before introducing the title track as Goners (rhymes with stoners). She would usually record some backing sounds quietly into her looper before setting off on the track and a few times it took a minute of things sounding a little like a cacophony before it all lined up as melodic. The album is quite strong and fared well live, with older tracks also performing strongly. As a 2 for 1 co-headlining with Dan this was a lovely treat.

Blue Rodeo, Serena Ryder, Odd Years - Riverfest (Aug 23)

Blue Rodeo

The epitome of Canadiana (alongside The Tragically Hip alone) and they are still wowing with their performances. Almost nonstop for well over an hour they mixed in all sorts of tunes, both beloved (5 Days in May) and new (New Morning Sun, Mattawa) - and even the new stuff sounds beyond good. Their lasting power definitely has to do with the shared songwriting, primarily provided by Jim Cuddy and Greg Keelor, as each has written definitive classics and performs them magnificently. It was really stunning to watch up close, and they've surrounded themselves with the finest musicians on offer too - writing and selecting songs that showcase those talents by including pedal steel, drum, and piano solos (Disappear) galore. Jim performed his own mini piano solo, but Greg also got a few moments in the limelight (Diamond Mine, Rose-coloured Glasses). The crowd had it's chance to shine by singing along to Hasn't Hit Me Yet before the encore. Try had to be one of the standouts among great songs all night but as it should it all came down to Lost Together in the end. As previously they've allowed guests to share the stage and have a go at the vocals (Wayne Petti - Vancouver Olympics, Cuff the Duke - Amphitheatre) this time they invited Jadea Kelly and Dan Mangan himself (his bandmates could be seen grinning sidestage cheering him along too!). Jadea just harmonized but Dan went a step further and utilized his sandpaper voice for the second verse which was really neat to see. But it wasn't like the rest of us were left out, we all had the opportunity to sing it out together into the Elora night.

Odd Years
While sitting at the back just listening to Odd Years after the mind-stretching Dan Mangan set I didn't realize that there was a contemporary Guelph indie rock supergroup playing, but it did sound like it so I moved my lazy ass into the tent. Perhaps because of their combined experience the sonic territory they covered from song to song was incredible. At first I was going to peg them as a folk group, borrowing elements from this night's headliners, Blue Rodeo. Then on the very next song they would change it up with a bluesy number and then an indie rock tune (and even some Super Mario music from the keyboard.) Regardless of the genre they were consummate musicians and with a deeper Beatles cover they had people, both young and old, dancing in the tent. Only afterwards when I went to get their album, inspired as I was, did I realize that their ranks include members of Cuff the Duke, Minotaurs, and Lowlands.

Serena Ryder
Serena Ryder has never been anyone I've called myself a fan of but I don't mind her from what I've heard. That being said, I didn't feel the necessity to watch all 60 minutes of her but only felt the rumble in my belly. I suppose this isn't the place to complain about the "No Outside Food" policy with very limited (and then sold out) vegan options but as you can imagine I was a little perturbed when I returned for the end of the set. Rather than fight the crowd we hung out partway back which showed just how into her the patrons were. Even in the limited five songs she showed off her vocals, sultry at times, and guitar work, as well as the solid work of her multicultural band with their big drums. The Sharon, Lois and Bram-esque actions to the one song were rather obnoxious but it proved how she had the crowd eating out of her hand even before Stompa and that bank commercial song (What I Wouldn't Do).

Dan Mangan, Elliott Brood - Riverfest (Sat Aug 23)

Jadea Kelly had very nice vocals for laying in the grass near the tent.

Elliott Brood
As the black-clad Young Galaxy had joked earlier they had lost the coin toss with Elliott Brood to see who got to wear white so the trifecta came onstage (early due to a botched intro by the awful MC) blanc top to bottom. Rather than get right into it they opened slower but next got into the favourites with Oh, Alberta (but no If I Get Old). As this was a folk fest you think people would be getting down but perhaps put off by the couple new tracks from the forthcoming record it wasn't all-encompassing buy-in, though the folks from Windsor seemed to enjoy it, earning a special shout-out ironically before Northern Air. When they decided to The Valley Town the folks were coming around and reinstating the old tradition of passing out pans and wooden spoons the lucky bunch got to bang along to the set-ender Write It All Down for You.

Dan Mangan
Always a pleasure to see you Dan but this time around there was a sense of anticipation - I know you're done the album so give us a listen already! Blacksmith, the newly christened five-piece backing band including violin and horn, did their part as Dan sang into each of his two mics opening with Oh Fortune and 'classic' Road Regrets. Then we had it, a first glimpse of the much-anticipated new record via a song entitled Mouthpiece. Whereas after the last record came out things like "departure" and "giant leap forward" were batted around this song seems like a fitting follow-up to the grand sound of Oh, Fortune as it was musically thick, featuring a healthy dollop of violin, and self-proclaimed "the wordiest song yet." Later in the set was another new song that sang something like 'forget real life and dwell' and was less Postwar Blues and more Leaves, Trees, Forest (both of which were played this show.) On Blues the instrumental lead-in, despite a couple technical difficulties, built and built until it was a recognizable swell the song tore up although not quite to the degree that it has before in its unbridled live incarnation. Following this onslaught Blacksmith temporarily excused themselves so Dan could win over any remaining crowd talkers with beautiful Basket. Upon their return they played Starts with Them.. before the second new track and Leaves along with its extended outro. This outro carried on and on until you could make out Robots which was the natural singalong that it is. I suspected this would be the finale, as has been the case so many times before, but an emboldened Dan blew through the 2 minute warning and began Rows of Houses. Who was going to stop him? It was another impressive song and something that would have been lacking had they cut it. Nobody on stage seemed too concerned about running over as Dan left Blacksmith behind to take their time and finish the song properly. Totally worth a hand slap.

Field Trip (Stars, BSS, Mangan, Hayden, Bloc Party+) - Fort York (June 8/13)

Gold & Youth

I was curious as to how Gold & Youth would be able to present the electronic-based indie rock of their highly enjoyable debut album, Beyond Wilderness, and the way that it was done was by integrating an electronic drum set right into the regular set. These pads were not visible to the audience but could definitely be heard and it allowed for the set to resemble an organic guitar show, without a bunch of backing tracks or knob twisting. The foursome recreated the sound quite well, with the lead male had a much deeper voice than his appearance would indicate, while the female vocalist hit her marks despite some maladjusted microphones. Wrapping up a short set with Time to Kill proved a pleasant way to start the festival.

Still Life Still

Sure were a bunch of dudes on stage for the first main stage set of the day. Alright there were only five of them including the hype man in leather manning the effects and keys. They rumbled out some rock music as the crowd assembled on their blankets all around. Not bad, but not much to jot down here.

The Darcys

Despite supposedly alternating sets on the main and second stage it seemed that every time I arrived to the Fort York stage things were already underway - although upon reflection that may have had to do with the one-lane commute between the stages. Therefore The Darcys were already cranking out their music to an appreciative audience. They incorporate the "Nighttime, anytime. It's alright" refrain by The Constantines (and also covered by Guelphite, Jim Guthrie). Incorporating some keys they were another respectable set that served as a suitable warm-up for a big day.

Jason Collett

A recognizable man in the Toronto scene he was less recognizable having cleaned himself up with a snazzy hair cut that gave an overall clean cut feel. He began with different backers including do-it-all Taylor Knox (bass, drums, vocals) for songs like Rob a Bank. But soon afterward he invited his former bandmates, Zeus, to reprise their roles for a couple tunes including Love is a Dirty Word and the tinny guitared Charlyn, The Angel of Kensington. (One of the first blatant outbreaks of local politics of the day, as he made reference to blocking the proposed WalMart to that neighbourhood.) It was a bit of a revolving door as Ms. Amy Millan joined him for a Hangover Days duet as he broke out the acoustic. To top it all off fellow BSSer, Brendan Canning, toted his guitar on stage for the obligatory I'll Bring the Sun which saw the return of Amy as well as her Stars bandmate, Torquil Campbell to sing along. Unfortunately the clouds remained for the duration of the tune but spirits were buoyed regardless.

Cold Specks

Admittedly most of what I heard from Al Spx was while salivating over my snack options in the food field next door but it seemed like a very full, loud sound, in contrast to her mostly quiet and subdued (but absolutely excellent) record, I Predict a Graceful Expulsion. There was a sax that added some deep bass to the sound and delightfully accompanied her impressive voice which would not be easily overpowered.

Zeus

This band is beloved, fittingly like a god, for their throwback sound and varied live show. It seems as if every member can play every instrument and throughout a half hour set they appeared to have hit on every possible configuration. It's just fun - like the call and response on Anything You Want Dear. They shredded through a bunch of their hits making for a jaunty, quick show.

Trust

One of the few bands of the day that I hadn't yet seen live (Still Life Still, Gold & Youth) again it was a mystery as to how they were going to come across in a live show. And let me tell you - it was a spectacle! The set-up was simple enough; drummer, female keys, and strictly singer. All three members of the band were dressed only in black, with the male lead singer wearing sleeveless top and black skirt, but to offset this lack of colour a very colourful character joined them. As this masked, sequined, jean-vested, short-shorted dancer worked it the band played on. The music is pretty electro catchy and this gave us some entertainment in addition to the otherwise straightforward musical presentation.

Hayden

Mr. Desser was in fine form as he started slowly, seated at his piano bench to open the set with a couple of tunes. The man of many talents, Taylor Knox, began on the guitar before swapping with the third member to take over the drums. He played a relatively perky set considering his catalogue, drawing heavily from the recently released album lit up in a neon Us Alone sign behind him. This included Rainy Saturday plus a cameo from Lou Cannon on Blurry Nights which was quite sweet. However I find it is Hayden's has a knack for putting real feeling into his songs that sets him apart, as on Almost Everything which drips with emotion with each ivory key and harmonica hum. For this reason alone I was left dreaming of a long, late-night set in a dingy back room bar where he could really get into it with a captive audience. That being said, there was much to be enjoyed from this festival set as well.

Ra Ra Riot

An American band that tours Toronto surprisingly often, likely due to their Arts & Crafts representation. For this reason I've seen them a couple of times in the past without getting too worked up about them - but their latest album had caught my ear again so I was willing to give them another go. And it was a worthwhile endeavour too as they impressed with the translation of their hooky songs to the live stage. I hadn't realized there were so many of them - six - but they were tight as the lead male burst out with his higher range vocals, nicely matched by the violin and countered with the deeps of the bodyless standup bass. They lead the crowd with energy and it was fed right back to them appropriately. One notable flair was when a member hugged his guitarist from behind, slipping his arms  between the guitar and the guitarist's arms to start a clap. That was a silly sight but otherwise an entertaining little set.

Bloc Party
It has been some time since I fell hard for Silent Alarm but the album still passes muster when I return to it some eight years later - and not quite that the same length of time since I saw them perform last, but awhile, no doubt. And wasn't I pleasantly surprised with this performance! Granted the music since that magnificent debut has evolved but they retain their catchy senses. So of course I enjoyed So Here We Are, Banquet and Helicopter but also Waiting for the 718 and Song for Clay from 2007's A Weekend in the City too. In fact, they played an unreleased track about Montreal which sounded excellent despite being a slower number - great response. The band still retains a certain swagger that carried them through the elongated set length. In finale they did not disappoint my twenty year old heart either as they performed a rousing rendition of This Modern Love that brought everything back around. Beautiful.

Stars
The last Stars show renewed my reasoning for having seen this band a dozen times - that Danforth show was stellar (pun not originally intended). Here they had a massive black and white backdrop poster of their North album cover which I could make out from my vantage point by the sound tent (as the festival had packed out by this point). The duo were energetic as usual though they were aware of the time limitations and burned through the hits rather than spending too much time waxing poetic. Torq did get a word out to enjoy ourselves even "under this shitty highway" as he motioned to the Gardiner nearby. There appeared to be another new guitarist, even since the Danforth show, though I couldn't be 100% sure - he did seem awfully happy to be there however, as he smiled away. Amy and Evan were amped up as each was seen jumping up and down at various points throughout the set that many in the crowd remarked was one of their favourites of the day (whereas I was slightly distracted by my burrito and being at the back). Perhaps ranked somewhere lower in the long list of Stars shows based on personal enjoyment, primarily due to circumstances, but that still makes it a better set than most concerts going.

Theory of Relativity
Lights Changing Colour
A Song is a Weapon
The North
We Don't Want Your Body
Elevator Love Song
Soft Revolution
Backlines
Midnight Coward
Take Me to the Riot
Hold On When You Get Love and Let Go When You Give It

Dan Mangan
A surprising highlight of the day. Not because I doubt Dan - I have professed my love for him many times before and stand by it - but because they hadn't played in such a long time following their last tour (including the recent birth of Dan's first child). While a tonne of people staked out their spot for Feist there was still a horde of Manganians hanging on each of his lyrics. Despite the absence the entire band seemed sharp, still building it up to knock it down. I've said it before but that Post War Blues just wallops you live! It is so darn good and received my virtual vote for best single song of the festival. (I had hopes for Anthems for a Seventeen Year Old Girl but..) Of note was the quickened version of Sold which still worked, while If I Am Dead worked slowed. The Leaves, Trees, Forest lyric caught my ear for some reason this time around too - "That's the thing about everything; everything always does that."
For better or worse the tune that is still Dan's signature remains Robots, so it was interesting to hear them change up the opening to the song as a disguise, but when the chorus rolled around and Dan had us all singing along there was no doubt remaining. As a bonus that song did not close out the set but instead we were treated to Rows of Houses which is a fantastic tune recorded and live, and was always destined to be a hit.

Feist
Coming upon the set late I was disappointed to see guests Aroara being thanked as they departed the stage (worth it for Dan though). From here Feist played an intriguing, if somewhat muddled and disappointing set. Sure, she could have played a more generic typical standard set of her hits as she has hundreds of times over (like Centre in the Square, Kitchener some years ago) but that is the music that made her famous. Primarily backed by only a DJ she ran through a series of reinterpretations of her own catalogue. Unfortunately the singing hardly sounded like singing as few words were heard between a series of sounds and notes emitting from her mouth. Often it is interesting for a live set to differ from its recorded counterpart but as with Dylan when the original is barely recognizable a great deal is lost. This seemed indulgent. I can't be certain that she ever got to "4" to start that thumb war as the loops continued without really going anywhere. When the hooded (caped?) lady finally exited the stage it was to a mixed ovation. I am still a Feist fan but would have reservations about making reservations to see her next show, unsure which one I was going to get.

Broken Social Scene

Yes it was a reunion for BSS after their hiatus announcement a couple years ago, after all isn't it "time that we grow old and do some shit"? The reason was the ten year anniversary of the label which essentially was established for the Broken Social Scene and definitely prospered due to their success, as well as the success of their cohorts and offshoots who also made music for Arts and Crafts. Plenty members had already taken to the stage earlier in the day including Andrew Whiteman (and his wife Ariel) with AroarA, Kevin Drew with anyone who invited him up, as well as the Stars crew. Here they were all (~13) together presenting their seminal album You Forgot It In People in its entirety and sticking much to the recorded versions as should be done in instances such as this. Mind you the standout track (of the album and perhaps their entire discography) Anthems for a Seventeen Year-Old Girl sorely missed Emily Haines' presence as despite the obvious enthusiasm from the female contingency, Amy, Ariel, and Lisa, they couldn't match it even together. However Metric, and hence Emily, was unavailable due to conflicting tour commitments. Yet a tender moment came following the conclusion of People as straight from the airplane James Shaw arrived to surprise everyone, especially Kevin Drew who blubbered his delight. Yes, they did carry on with a good number of further tunes beyond the album reproduction, tossing in a few from the last release including the strongest song from it, All to All, but primarily adding in the greatest hits and a previously unreleased song as well. Unfortunately the closing tune selection wasn't quite as joyous and ecstatic as could be but the show was excellent regardless.  As he's wont to do, often enough that Feist hilariously impersonated him during her set, Kevin politicized the affair by calling us together to stand up for Toronto - barely veiling his condemnation of the current mayor. It was true that it was a beautiful culmination of art and people at historic Fort York as we all came to celebrate A&C and by extension the Toronto scene as a whole. 

Dan Mangan, Rural Alberta Advantage (Danforth Music Hall, Oct 25/12)

Dan Mangan

Kicking off with the new single from the Radicals EP surprised me slightly but I quickly came around to We Want To Be Pleasantly Surprised, Not Expectedly Let Down. It even descended into the disparate instruments jamming away before melding right back together straight into the other mouthful of a song title About As Helpful As You Can Be, Without Being Any Help at All, signalled by that telltale violin opening. Following Oh, Fortune's title track the first Nice, Nice track, Sold, was met with very enthusiastic crowd support. Next was an intro about the minuteness of human existence in history before Dan dropped Leaves, Trees, Forests with a mini interlude (well more of a pregnant pause). 

From the always impressive whistle showcase by 'Mr. Kenton Lowen on the drums' on If I am Dead they absolutely crashed right on into Post War Blues. What a fantastic song given a righteous live treatment as the keys and violin plucking fill it out beautifully. From this high, after which the band appeared momentarily physically exhausted, Dan almost had no choice but to give them leave and give us the wonderful solo rendition of Basket. The Dan Mangan Band returned for Starts with Them, Ends with Us that may as well have been titled "Starts with Them, Ends with Triumph" based on the feeling portrayed by the onstage band in its closing. They had no problem with classic Road Regrets, nor the quintessential Dan Mangan song Robots, that saw the author crowdsurfing as we belted out the refrain. Rows of Houses is an amazing song and the band did it justice, especially as Dan and Kenton had a standoff with Dan signalling all of "my hype man, K-dizzle"'s drum crashes.Mr. Mangan led us through Death and Dying before the final number, Jeopardy. Not only is this a well written song but it was cute that a group in the audience answered the majority of his questions (far enough away from me to be cute and not annoying) and then the band absolutely rocked out the ending of it. The crashing of this set was fantastic and essentially guaranteed an encore. 

Back out solo, Dan played The Indie Queens are Waiting before reintroducing the band. But not exactly everyone as in true rockstar form Kenton came running in just before the drumming in Tina's Glorious Comeback, smoke from his lit cigarette streaming behind his bottle of booze. It didn't affect the quality of the song however as they brought it down. In finale Dan obviously knew what he wanted to do.. Hauling a chair into the middle of the crowd he requested that as much as we love the internet we put down our phones and raise our voices instead. So from this lofty position he lead us in Postcards'.. So Much For Everyone. This may have been the best crowd participation I've ever seen for this song as 1500 voices joined Dan's in singing to the heavens. Gorgeous.

The Rural Alberta Advantage

The RAA have been at it a long while; working shows to gain fans. With the release of their first album Hometowns the fruits of their labours were reaped, gaining much critical adoration and blog praise. As they continued to slug it out, releasing their second album Departing (more of a continuation than a departure) their already won-over fans couldn't be overly disappointed but it seemed as if they had plateaued. Now a year or so following that release they continue their hardworking tour efforts, still as openers though, not headliners. That being said it was a massive hometown crowd who knew to arrive early for this rockin' folk trio. By this point most songs from the two albums are tried and true 'classics'. Lucky for the devoted fan there were a few new pieces to provide some variation, such as the new Love on the Rocks track. It was an upbeat acoustic number, ending, as so many RAA songs do, with everything falling away but Nils' voice and light acoustic strumming. The other new track (only played live on this tour, so third time ever), coming later in the set, had a wicked drum beat provided by Paul, and once again ended on a Nils acoustic note.

In a decently long 70 minute opening set there were a lot of solid moments (solo Nils' Littlest Hobo not included). These included the yelling on Frank, AB as Nils doesn't strum but pounds on the body of his acoustic guitar. Summertime was lovely as always, especially when Amy pipes up on the last few lines. A personal fave is Four Night Rider that always seems to hit its mark in the short time it is allotted. While the crowd wasn't outwardly excited they did get into the closing sequence of Deathbridge, North Star, the rocking Barnes' Yard and finally the well-known Stamp. Another very good performance in their long line of performances, though it would have been more rock and roll if Nils had smashed his guitar when it got unplugged seconds before the end of the set, instead of plugging it back in.

Dan Mangan (Luminato, June 16,2012)

Dan and band, including a violinist and trumpet who hadn't played with them in a year, have been touring Oh Fortune for some time and it shows. In fact this show had many of the same aspects as last summer's shows. It leaned heavily on the new material with the mid-set exception of Sold and later Dan's now classic live rendition of Basket. Following a one-two punch of Robots (in-crowd singalong) and Rows of Houses (amazing live) it was hard to see how he was going to follow that up. What he did was slow it down for album closer and very strongly written Jeopardy. It worked in the hot, afternoon sun.

Top Albums 2011

A helluva year for music in my opinion. Decembers past I've struggled to fill out a Top 10 but not this year! No sir. An explosion of greatness that forced my hand to expand. I suppose taking the train to work really lengthened my music-appreciation time. My intentions weren't for any set number but these twenty-five were all legitimately in my ears and in my head at some point throughout this year.

1. Kids & Explosions – Shit Computer
   Shit Computer hit me from the first time I heard the opener and since that time way back in January (technically a December 2010 release, shh) I still haven’t gotten enough of this album. There is so much going on that I’m sure undiscovered nuances remain. A true soundtrack for the attention-deficit disorder generation this genre-melding piece is unrelenting from start to finish, never sounding tired or derivative (despite deriving 100% of its content from other sources). If you thought you loved Girl Talk but it wasn’t quite spastic enough, check Kids & Explosions.
   PWYC Download (ie:$0 if ya want)
   
   
2. Braids – Native Speaker
   Unlike almost anything else out there this young group goes well beyond their years to craft an album that is fresh, creative, intriguing but also wholly enjoyable. There is a slight challenge here but it is worth every effort to get into it. The effects are used at times to the point of confusion as a listener but it is this building and shifting that demands attention and deserves it. A breathy injection of fresh air into the Canadian indie scene.
   
   
3. Library Voices – Summer of Lust
   The promise shown on Library Voices’ Hunting Ghosts and Other Collected Shorts EP was huge, and coupled with their fantastic live shows expectations were lofty for their first full-length. That was why Denim on Denim was actually a disappointment, despite the inclusion of Haunt this House. To me it had the feeling of being rushed through the production phase, as was admitted by the band. A little faith and only a year later the Summer of Lust was unleashed upon us and it was all I that had been dreamt of. Danceable beats, singable choruses, literary references, and overall catchy songs out the yahoo - it has it all. A little patience and the reward is this “pop-as-fuck” gem.
   
   
4. Dan Mangan – Oh Fortune
   Outsiders may not have predicted that this would be the next logical step for Dan Mangan’s follow-up to his long-brooding Nice, Nice, Very Nice breakthrough but now that it’s here we all agree that it was the way to go. A much fuller, orchestral sound that swirls all around his still focal gruff vocals. It hits on many levels. The top-notch songwriting remains and is filled out by the splendid band it was written with. The power of Post-War Blues very nearly matches its incredible live intensity. And just try to listen to Rows of Houses and not be moved by that voice and the strength of the music that sweeps it along. Oh Fortune required slightly more patience than its predecessor but the dividends pay off in time with this new masterpiece.
   
   
5. Imaginary Cities – Temporary Resident
   Another album that is difficult to put a finger on exactly what makes it so gosh darn enjoyable. The lead female vocals are unique and pleasant. The songs themselves are well-written, well-played. The album isn’t in-your-face but it definitely has some weight to it that it carries right through. As a whole there isn’t really a fault to be found and trust me, I’ve listened to it through enough times to know.
   
   
6. Kidstreet – Fuh Yeah
   I didn’t know Kidstreet before they made their veer towards electro dance and it probably would have stayed that way. Suffice it to say that I’m very pleased this trio of siblings made this change so they could produce the X EP that led directly to this very similar debut, Fuh Yeah. (Only complaint is that they did not include the super fun Spin Twirl). It could be argued that their position on this list is unfair as I first discovered their music as an opening act, and it was only after having already been impressed by this show that I got a hold of the recorded songs. That may be true but as fun as their dance parties are there still needs to be substance to the music -that fun needs to translate to disc. Both of these things are here of course, hence why I’ve been dancing to it both in the concert hall and in my bedroom all year.
   
   
7. Classified – Handshakes and Middle Fingers
   Class has been on a long arcing upward trajectory, not only in mainstream popularity but also in quality. Since he’s been on my radar I’ve enjoyed his work though often pulling a selection of repeatable tracks from an album whereas Handshakes strikes deftly off the top and carries this momentum through. Sure he’s had his novelties –  Canadian anthem-sampling raps, Choose-Your-Own-Adventure – but here he comes through as adamant and authentic. That Ain’t Classy is perhaps his most commercial sounding song, but the fact that it is so polished is not a knock but a compliment to his beat-making and production skills. Sampling throwbacks like the Danger Bay theme song or giving industry advice are ways for Luke to not only allow his creativity to shine but also to keep the long-player sounding fresh throughout. Kudos to Classified for this album, through and through.
   
   
8. Wildlife – Strike Hard, Young Diamond
   I’ve admitted before that I’m all for a hook – I live for the catch. Pure catchiness wrapped up here leaning more toward pop-Wolf-Parade rather than other local earworm heros, TPC. One of the first up-and-coming Toronto bands (despite having been in the game a surprisingly long time) I dug soon after I “moved to the city” myself. Enough single-worthy tunes packed on this record to have me singing along for months.
   
   
9. Rich Aucoin – We’re All Dying to Live
   How do you capture bouncing under a parachute with Rich Aucoin in the sweatiest dance party this side of Daft Punk? Why invite twenty-two million friends to each add a drip of energy to a pop/dance album for the ages! I don’t know all the intimate details of the production of the album but it is damn near the closest I could conceive of capturing the energy of a Rich Aucoin show on record. In fact it is better than I’d originally imagined. The multitude of tracks stream by in a fun fury and before you know it hundreds of people are chatting in your living room and you’re ready to start this thing over again from the top. Not just a one-man dance party any longer!
   
   
10. Airplane Boys – Where’ve You Been
    Seemingly coming out of nowhere this mixtape has some inexplicable magnetism that drew me back again and again. The sample choices, perhaps obvious but done in respectable fashion, included such megastars as The Arcade Fire and Radiohead but the flow laid atop makes 'em unique. As an introduction to this Toronto-based duo I can only hope that the promise comes to fruition.
    Free Full Download!
    
    
11. Hey Rosetta - Seeds
    It is unfair to try and stack this up against Into Your Lungs considering how much I loved that album (see Top Albums 2008). Alas 2011 seemed to be the year for ever-so-slightly lesser second contributions from bands whose previous albums I’d fallen fast for (ex from this list:RAA, Dan Mangan, Arkells, Dodos). Despite this I still really enjoyed this album and spun it a tonne trying to have it attain the Into Your Lungs levels that it could just not quite reach. Seeds is a solid tune. Yer Spring is a friggin’ fantastic song. Bandages was already stellar even before that yearn-for-the-Rock video they created. Need I mention the songwriting on Welcome? Separately or the sum of its parts, this offering still deserves its accolades.
    
    
12. Austra – Feel It Break
    Katie Stelmanis’ voice is a national treasure. In previous incarnations it never seemed to get full exposure but here its operatic quality shines and accentuates her technical abilities. Lose It would be in the running for track of the year, but it is far from the only gem found here.
    
    [Not that those below weren't worthy of a written review, but my intentions were only ten before I scrolled through my library again and bumped two totally forgotten but absolutely beloved records in.]
    
    
13. Architecture in Helsinki – Moment Bends (AUS)
14. Rural Alberta Advantage – Departing
15. Arkells – Michigan Left
16. Noah23 – Fry Cook On Venus
17. TV On The Radio – Nine Types of Light (USA)
18. Elliott Brood – Days Into Years
19. Dodos – No Colour (USA)
20. Hooded Fang – Tosta Mista
21. Les Jupes – Modern Myths
22. The Streets – Computers and Blues (UK)
23. Sunparlour Players – Us Little Devils
24. Handsome Furs - Sound Kapital
25. Bruce Peninsula – Open Flames
    
    
    *All artists Canadian unless otherwise indicated*

Discovered in 2011

Chilly Gonzales - Ivory Tower
A late discovery. I wanted to hate this album and some of its terrible and provocative lyrics from the beginning. Yet in the end I couldn't stop spinning it. Even though he put out a new album in 2011, it was this 2010 disc that I kept returning to.

Bands to Watch 2012

I don't even know what they are specifically up to, but I know that I discovered these in 2011 and hope that more and more people discover them in 2012.

Birthday Girls
Hardcore outta Ottawa with a promising EP. True to their word, the self-described influences of DFA79 and Bloc Party (two of my faves of the early oughts) can be heard.

Airplane Boys
Toronto duo with a banging mixtape (a la Drake) and huge potential for a big market. I'd say they should take off, but that'd be a bad pun.
(Follow link for free album!)

Born Gold
Probably a smart name change (from Gobble Gobble), the rumour of their live show won't be lost because of it. Couple that with infectious indie electro that you can shake to and these guys have a good thing goin.
(Follow link for free album!)

Hey Ocean!
This late-'11 album is almost too good. It's pure, polished pop that goes down smooth. You make me wanna make a new dance up!

Humans
I think this EP I found on Spotify was actually from 2010 but I couldn't get enough of it. I hope there's more to come!

You can check out my Top Albums lists dating back to 2002 on my previous Vernacular blog

Dan Mangan, the magical (Queen Elizabeth Theatre, Oct 28, 2011)

In the dark of the Queen Elizabeth Theatre an assembled group of musicians struck up. The noise at first seemed ominous and disjointed but in time grew in structure and strength before swelling into the opening number from Oh Fortune. As finally the vocals kicked in, the lights flashed on to reveal the man of the hour, Mr. Dan Mangan, in all of his bearded glory. For the next nearly two hours his magnetism would work in unison with his talented band for a night of musical magic.

Being the Oh Fortune tour, an album that moved from singer-songwriter into a much fuller, more orchestral sound, it made sense that the show would take on that feel as well. This was accomplished through a keyboard player, violinist, and a very welcome addition of a horn, which on top of the regular three-piece backing (The Crackling) flushed the sound out quite nicely. It made already amazingly loud live numbers such as Post-War Blues (a song that needs to be heard live) that much better. In fact, as they played the majority of (if not all of) the new album things sounding so great in this nice, seated, sold-out theatre. Even the slower Daffodil was carried by Dan, and Leaves, Trees, Forest benefited from an introduction that was slightly more rare than usual on this night as Dan explained they were attempting to fit as much music in before curfew as possible. Naturally the stand-out single Rows of Houses hit its mark and resonated with the crowd, and we were quite excited to hear Dan slowly start into Jeopardy, another especially strong new song. It Starts With Them, but the latter half definitely Ends With Us as the musicians (the horns!) totally brought down the house in what I thought could have been a closing number.

With all of the new material to be heard it was almost unnecessary to dip into the back catalogue, but that of course would be a disservice to its strength. Besides, this may have been the best rendition of Baskets I have ever seen. Perhaps it was the violin that stuck around (as well as the upright bass) to back up one of the most beautiful songs going - whatever it was it was special. Sold was another more-than-welcome addition that the band has down pat, along with Road Regrets. However it is the raucous Some People that they have only improved over the years that just crashes through in the most powerful way. Yes Nice, Nice, Very Nice most definitely still has a welcome place in the show - don't ever take these gems away.

From the standing ovation that followed it was apparent that this had been a transcendental night that broke through to the audience. As Dan was mostly unaccompanied, we helped him out singing Veda Hille's role in Indie Queens. He also treated us to his beloved cover of Neutral Milk Hotel's In an Aeroplane Over the Sea before returning to the song that all of this wonderful glory seems to have built itself upon. It was a stand-up singalong for Robots and that was more than alright - people showing their sexual confidence, eh Dan? As this came to a close I hoped beyond hope that there'd be time to slip it in and could see Dan inquiring before finally making the decision that, yes, they would do So Much for Everyone. The entire band assembled front and center, and following a warm-up teaching of Oh-ooooo, Dan began into the sparse and emotional introduction to this track. In moments the band kicked in with their clap-stomp and elation swelled, as did our voices, into the pure bliss of this final shared song of a glorious night.

Fred Penner + Dan Mangan - Hillside Sunday 2011

Word was spreading across the festival - Dan Mangan was tuning up a guitar at Fred Penner's stage. With the RAA's final note still hanging in the air I snaked my way out of that crowd and straight to see this for myself. Sure enough upon arrival Dan was already on stage with the man that sang my generation many a tune while growing up. I'm not sure that he entered through a log or if there was a visit from Word Bird but otherwise this was Fred. He knew how to play to our hearts, realizing that he was a distant but vivid memory of childhood for us in the crowd. When they busted out Sandwiches, the song - not the foodstuff, I was euphoric. As Gord of The Crackling joined Fred on guitar someone on stage made reference to Shred Penner! Fred was pretty hip still too, smoothly tossing a cat-in-the-bucket K-Os lyric into The Cat Came Back/Hit the Road Cat!
Nobody gets a midday encore at Hillside, but that Lake stage was adamant, so not only did he play This Little Light but he even came back again for You Are My Sunshine. Amazing what happens when your boyhood and manhood idols come together! Brilliant!

Dan Mangan - Hillside Saturday 2011

Having just seen Dan Mangan's intimate secret show in Toronto nights earlier, and the workshop earlier in the day, seeing his mainstage set may not have been completely new but he's such a performer it was STILL something to look forward to (from the third row). Things of note were just how epicly long the yell following the interlude on Road Regrets was. Additionally without Veda Hille's accompaniment the backing band stepped in to sing the female parts of Indie Queens (as they did last year in Trinity St. Paul church). On new bombshell Post War Blues there was a sweet acoustic slow down before Gord Geordini stepped up to absolutely rock out on guitar. A treat was the specially requested Baskets done acoustically by Dan with only the double bass backing him. Due to another broken string there was an brief interlude before one more strong live showing of Some People. Also new was a song about Castle Rock, Oregon before closing with the staple (that isn't always played) in Robots. Dan even clamoured down into the crowd where I was fortunate enough to sing the lyrics along into the mic with him and a handful of others. Whew! Third helping, still worth it.

Hollerado - Hillside Saturday 2011

Unlike the massively awkward 'we don't do acoustic' sun stage set earlier where they told jokes and played one song  (hilarious for me, a fan, but probably terrible for most everyone else who'd been watching $100) Hollerado were in their element as the closing Island stage band of Hillside Saturday night. This slot is now notorious for bringing the party year after year and there's nothing Hollerado like more than partying.

It began with fifty glowing beach balls hopping all around the already riled up tent from The Sheepdogs previous. As people danced all over those picnic benches they threw down all they had, getting a great reception especially on Juliette. A go-to in their bag of tricks is Petty's Rockin' in the Free World which they pulled out midset, inviting Harlan Pepper to join them for it. Who wasn't invited but felt inclined to go join, and was certainly welcomed, was Dan Mangan. In fact I had to prop him up in his hurry to the stage (Hillside moment!) to help out on vocals.

The band claimed that this was perhaps their favourite show ever and I believe it as it seemed right up their alley with confetti exploding throughout. The only odd moment was a perhaps misguided tribute to Amy Winehouse who had passed that day which came in the form of a call and response with the crowd of the chorus to Rehab. It didn't ruin the mood though. We poured it on in encouragement of an encore which was a silly choice but by this point nobody really cared and rocked along to The Bird is the Word. Hollerado may not be great at serious but they know how to create an incredible time.

Dan Mangan Shares a Secret (Toronto Institute for the Enjoyment of Music, July 20, 2011)

The first message - plain, straightforward, lacking in detail - went out mid-afternoon and the rumours began to swirl. By evening curiousity was as high as excitement. Finally word came: Toronto Institute for the Enjoyment of Music.

Dropping my Grilled Cheese grilled cheese I clamoured onto my bicycle to join the small crowd, mere shadows of that to come, congregating on the Queen West sidewalk. To interrupt the wait The Crackling could be seen soundchecking through the large, glass storefront window to the music centre. Soon thereafter Dan himself poked his head out the door for a quick rundown of how he envisioned the night going down, before the musicians dropped their beers and strolled off down the muggy street.

The temperature shot up to take curiousity's former position alongside excitement as we crammed ourselves, perhaps sixty-strong, into this space, leaving only a handful to peer from the doorway. Relief came in the form of distraction as The Crackling, Dan's bandmates (with the drummer swapping sticks for lead vocals and a guitar), took to the stage, er, front of the room. As before the double guitar (2), and double bass (1) sans percussion worked very well and there was heavy buy-in for the singalong. The instrumentation was relatively restrained, as were our limbs as we were asked to take a seat leaving essentially zero personal space.

We could not however be asked to take Dan Mangan sitting down. Following a short break he unassumingly started into a solo acoustic number that brought the melting crowd's attention back. It was a song from the new album, as was the next about the leaves on the trees, and the trees in the forests. The title track and lead single, Oh Fortune, brought things up a notch before the dial was cranked for a rocking rendition of Sold. Another upbeat tune came and worked into a massive, rambling breakdown. From here the songs tumbled over each other and my memory mixes old with new, and even a cover (Neutral Milk Hotel - In an Aeroplane Over the Sea) as bliss overcame me. The new song, self-described as the poppiest rock song, with the most fuck-you lyrics he'd ever written, was another standout. (And they also did that song with all the questions - about the band, and where they're playing tonight - that I've heard before but can't place. Update:Jeopardy) Some People brought the house down with absolute energy emanating from the four-piece and permeating through the crowd.

Busting a string seemed prophetic somehow, so Dan suggested a change of venue to join the onlookers on the street who now were nearly half as strong in number as us inside. As streetcars cruised by, Mr. Mangan stood atop a piano bench, surrounded by bandmates, and led us in an awe-inspiring So Much For Everyone. Encouraged to sing along for the sheer natural high, we belted it out on the sidewalk, raising our voices in unison in the street. Magnificent!

Nobody wanted it to be over - musicians or music-lovers alike. To cap the night a farewell cover of Elliott Smith's I'm Gonna Love You Anyhow washed over us. The band humbly thanked us for bearing the heat and bid us goodnight. Smiles were seen all around as people milled about discussing the magic they'd just witnessed.

What can ya say? Dan does it again.

Canada Day Roundup (Ottawa, July 1, 2011)

What more fitting place to begin the day than on Parliament Hill. Unfortunately this is where absolutely everyone else wanted to be too - something to do with a couple that are famous for being born and marrying someone who was born. But I digress..

Jenn Grant was upbeat and perky as always early in the show with Getchya Good. The best part of her shows is usually the awkward yet amusing banter however under the circumstances she didn't have much of a chance for this.

Corb Lund and the Hurtin' Albertans stayed patriotic (and likely sweltering in their black long sleeved cowboy get up) with a fun rendition of Long Gone to Saskatchewan.

Dan Mangan in all his bearded glory looked tickled to be playing this show. Dropping a percussion section altogether he went big brass alongside his acoustic guitar for a mighty fine take on Sold. Upright bass plucking and a strong clapalong rounded out the tune, bringing us to the next act - Harper and the Economics.

Ohbijou have come a long way from Casey's solo beginnings as not only was she joined by her violin playing sister but also had a bodyless, seated, standup bass player, plus bass, drum and guitar. The songs are primarily pretty and lush with a focus on her soft voice but at times during this show they pulled out some stronger instrumentation (even an effect pedal on the up and down new closer). Black Ice and St. Francis remain favourites and were taken in by members of The Acorn as well. Another highlight was the Nathan Lawr cover mixed into this pleasant, sunny afternoon set. 

Coeur de Pirate was on the Jazz festival's mainstage and had a captive audience seated in the grass. He set was remarkably similar to last Friday's FrancoFete show in Toronto, right down to the half Armistice song during the encore. Beatrice may have spoken even less English but still managed to get us all on our feet for the Commes Des Enfants finale. 

The second Parliament Hill show of the day had a much looser vibe than the first and saw Dan Mangan climb out into the crowd to encourage the "very serious, for Canada" singalong to the chorus of Robots (while backed by a few lovely female violinists). This time around I also caught Mr. Sam Roberts though with the muffled sound from my vantage point I only recognized Brother Down despite this not seeming like the place to pull out two new songs from the very recently released new album. 

All in all it was a splendid day topped off with the dependably awe inspiring fireworks display. Logistic of moving around, and being trapped on the wrong side of the road for a couple hours in order to wait for some nobodies to wave out the window of a Suburban at us prevented more musical intake (two hours traffic, grumble*) but altogether it was still pretty great. And topped off in a patriotic fashion with beers at Sir John A's place.