Constantines
Just like at Field Trip the set started with the plodding drum beat of Draw Us Lines which emerges into a shout along that starts a show nicely for band and audience alike. Against the black backdrop covering the Arcade Fire stage setup, the recently reunited five piece looked tiny on the huge stage, an impression magnified by the still mostly empty seats of the cavernous amphitheatre. It did not affect their audio output however as they crunched out songs from across their decade plus history. Hotline Operator had fans drumming the backs of the empty seats in front of them and beaming, while Bry Webb dropped to his knees aggressively strumming his guitar. Nighttime, Anytime got a few people shouting along from the back and Hateful Song swapped out the keys for an additional dose of guitar awesomeness as the spotlights came on. Unfortunately the set may not have won many over but at this point in their career that is probably not what they are going for anyway. Bry appeared very humbled to have been asked by their friends in the Arcade Fire, for they had played together previously before AF's world domination began, citing their last gig together in a church basement in small town Ontario. He mentioned how the live Arcade Fire cover of their song Young Lions while playing the ACC in the spring of this year had caused his phone to 'explode' (he wasn't in attendance) and then threw it back out to them before playing it. This band has obviously not missed a beat as they had me clapping and hollering in appreciation all by myself from the cheap seats.
Dan Deacon
Dan Deacon did a set of his electronic music as a prelude to the Arcade Fire performance. With just himself and a board he managed to whip up a few hot tracks. There was a whole lot of talking and directions coming from him though, which may have been lost on us as we hung around in the back row - attempts at dance-offs it seemed. Overall the party starting may be better suited to a smaller crowd of more devout followers.
Showing posts with label amphitheatre. Show all posts
Showing posts with label amphitheatre. Show all posts
Monday, September 1, 2014
Sunday, August 31, 2014
Arcade Fire - Amphitheatre (August 29/14)
Initially the costume idea struck as a brand making demands but upon reflection it could be seen as a band making an event out of their concert. Wouldn't it be more exciting if you planned for it and were surrounded by people looking their best, or in their best costume? In interview Win backed the latter reasoning and any attendee would have to admit that it worked. Sure there were more people in jeans and a tee than a suit or a banana suit but there was plenty to look at and even more to be excited about. For me it had been damn near a decade since the last show (Hillside July 2005), an awe-striking performance that still wells up joyous feelings, so I could hardly wait for it to begin. It was fitting that the band took part as a costume-head in the likeness of each band member marched out to start the show, breaking into the music and setting the crowd off only to be booted by the actual band who emerged in faux surprise and anger. Scripted yes, but still amusing.
With the real band on stage, a whole bunch of them, constantly moving about between instruments, they played a setlist that is damn close to what I would have crafted in a perfect world. This being the Reflektor tour this idea-heavy and danceable disc got its due with the obvious stellar Afterlife, while even Normal Person and Oh Orpheus were brought to life. That last track saw Regine out in the middle of the crowd to sing while three skeleton-suited people floated behind her. Slightly inexplicable it just added to the spectacle such as the being suited completely in chain-mail made of mirrors, in a cloud of fog, with spotlights beaming off as if lasers were being shot from this dancing light-emitter. Keeping with the reflecting theme there were a couple differing sets of mirrors that were lowered above the group depending on the song, but oddly not for the title-track of the latest album. Only a couple Neon Bible tracks made it, rightly so, if you include a top fun tune on the night, Keep the Car Running, (which was actually re-released after being on the debut self-titled.) In addition they also picked the best of The Suburbs - Ready to Start, The Suburbs - the best in my opinion as well as theirs apparently. To round out the set was the Regine-leading Sprawl II, hands-down my 'burbs fave, which didn't seem a natural show closer but I was pleasantly surprised to note the overwhelmingly positive reaction from the rest of the crowd to match my own.
All night they leant heavily on Funeral which is a tried and true strategy at this point - throwing Rebellion Lies, Tunnels and Haiti into the mix. However it was a safe bet that it would be included in the encore as well. Perhaps the only misstep of the night seemed to be upon re-emerging for the encore as they did something they've been doing at each stop - an ode to the city by covering someone local. First they referenced Hamilton's Teenage Head with a reprise of the costume-head joke, then for some reason a snippet of Shania Twain played before the band ended up playing Who Do You Love? as they reasoned it was made famous by Ronnie Hawkins and the Hawks. Maybe the song was just before our time, or that their version was unfamiliar but it fell a little flat. However when you follow it up the way they did it is easy to move on.
Nearly a year ago the half hour video was released in anticipation of the new album and since that point it was obvious that their live show was going to be a party. The primary reason for that is the tempo busting Here Comes the Nighttime which they played in all its glory - perhaps the crowning song of the night albeit not the last. No, they went back to Funeral for both Power Out and the natural nightcap - Wake Up (same as last time..). As if the song and the night aren't epic enough the Exhibition fireworks began to blow, as did the minds of everyone in attendance. A transcendental show that makes me wonder - what the hell have I been waiting a decade for?!
Openers - Constantines and Dan Deacon
With the real band on stage, a whole bunch of them, constantly moving about between instruments, they played a setlist that is damn close to what I would have crafted in a perfect world. This being the Reflektor tour this idea-heavy and danceable disc got its due with the obvious stellar Afterlife, while even Normal Person and Oh Orpheus were brought to life. That last track saw Regine out in the middle of the crowd to sing while three skeleton-suited people floated behind her. Slightly inexplicable it just added to the spectacle such as the being suited completely in chain-mail made of mirrors, in a cloud of fog, with spotlights beaming off as if lasers were being shot from this dancing light-emitter. Keeping with the reflecting theme there were a couple differing sets of mirrors that were lowered above the group depending on the song, but oddly not for the title-track of the latest album. Only a couple Neon Bible tracks made it, rightly so, if you include a top fun tune on the night, Keep the Car Running, (which was actually re-released after being on the debut self-titled.) In addition they also picked the best of The Suburbs - Ready to Start, The Suburbs - the best in my opinion as well as theirs apparently. To round out the set was the Regine-leading Sprawl II, hands-down my 'burbs fave, which didn't seem a natural show closer but I was pleasantly surprised to note the overwhelmingly positive reaction from the rest of the crowd to match my own.
All night they leant heavily on Funeral which is a tried and true strategy at this point - throwing Rebellion Lies, Tunnels and Haiti into the mix. However it was a safe bet that it would be included in the encore as well. Perhaps the only misstep of the night seemed to be upon re-emerging for the encore as they did something they've been doing at each stop - an ode to the city by covering someone local. First they referenced Hamilton's Teenage Head with a reprise of the costume-head joke, then for some reason a snippet of Shania Twain played before the band ended up playing Who Do You Love? as they reasoned it was made famous by Ronnie Hawkins and the Hawks. Maybe the song was just before our time, or that their version was unfamiliar but it fell a little flat. However when you follow it up the way they did it is easy to move on.
Nearly a year ago the half hour video was released in anticipation of the new album and since that point it was obvious that their live show was going to be a party. The primary reason for that is the tempo busting Here Comes the Nighttime which they played in all its glory - perhaps the crowning song of the night albeit not the last. No, they went back to Funeral for both Power Out and the natural nightcap - Wake Up (same as last time..). As if the song and the night aren't epic enough the Exhibition fireworks began to blow, as did the minds of everyone in attendance. A transcendental show that makes me wonder - what the hell have I been waiting a decade for?!
Openers - Constantines and Dan Deacon
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(John Williams song)
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(intro played by fake band)
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-
-
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(slowed down intro)
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-
-
-
-
-
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(w/ 'My Body Is a Cage' acapella intro)
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-
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(Régine on B-stage)
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('Damian Taylor Remix' intro)
- Encore:
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(Teenage Head song) (Fake band on stage)
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(Bo Diddley cover)
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-
Monday, August 19, 2013
Blue Rodeo, Bahamas - Amphitheatre (August 17/13)
Bahamas
Afie had the distinct pleasure of opening for Blue Rodeo for their annual summer show in Toronto. Granted with the Amphitheatre's penchant for punctuality a majority of the 20,000 attendees were not yet in their seats when he strolled out along with his band precisely at 8pm. Those of us who were on time were treated to the Bahamas affair, a fleshed out solo project that is rooted in electric guitar, alongside a drummer and additional guitar, yet has feelings of folk well embedded. As an added bonus there were two lovely ladies accompanying him on vocals, including Tamara of The Weather Station. As the audience filtered in the band confidently performed numbers from the most recent Barchords like Caught Me Thinkin' and standout Okay, Alright, I'm Alive, plus a throwback to Pink Strat with Hockey Teeth. The song of the set had to be the surprising strength as Never Again grew and grew. Seemingly humbled by the slot Afie gushed not only about 'biking to work' but also the beauty of the massive audience with the trees and the blue sky in the background as the sun set. Agreed - it was a very pleasant scene with a fitting soundtrack.
Blue Rodeo
On this perfect summer evening the boys of Blue Rodeo, all seven of them, came to entertain and prove why this has become a summertime staple. Twenty-six years in the game they certainly have mastered a live show but that is not to say that it comes off too excessively polished. The pedal steel and Cuddy's many harmonicas featured prominently and weaved their way right from opener Head Over Heels on through. With Jim and Greg passing the mic with ease they brought most songs from their recorded state to live brilliance, slipping guitar solos in wherever possible such that even mid-set numbers came across as epic closers. An example of this was Diamond Mine with its piano and Cuddy's electric guitar solo, or even Five Days in May which had their third guitarist laying it down. Interspersed with these Canadian classics were a surprising number (5) of new tracks like Mattawa from their forthcoming autumn release, all of which sounded strong and could very well be mainstays in summers to come. That said people come back year after year for moments like Jim Cuddy playing the piano on After the Rain and their rendition of the Bee Gees' To Love Somebody which has taken on a life of its own. The most hair-raising moment was the twenty-thousand strong choir who without prompting took to their feet and took Hasn't Hit Me Yet from the band before they even sang a note - belting out the nearly literal line "..out here in the middle of Lake Ontario." This was followed by closing number - a standard - Somebody Touched Me which was dedicated to the memory of the recently departed former member James Gray and had more than a touch of gospel in its call and response.
Amazingly an hour and forty minutes had passed by in what seemed like a flash and people were hollering for more. Fortunately they would deliver with Til I Am Myself Again, before Jim Cuddy awed us all with Try. What else could be left in the tank but the ultimate Blue Rodeo song as the ladies of Bahamas joined them while Afie had to the honour of singing a verse of Lost Together to play us out into the gorgeous Toronto night. Until next year, boys.
Afie had the distinct pleasure of opening for Blue Rodeo for their annual summer show in Toronto. Granted with the Amphitheatre's penchant for punctuality a majority of the 20,000 attendees were not yet in their seats when he strolled out along with his band precisely at 8pm. Those of us who were on time were treated to the Bahamas affair, a fleshed out solo project that is rooted in electric guitar, alongside a drummer and additional guitar, yet has feelings of folk well embedded. As an added bonus there were two lovely ladies accompanying him on vocals, including Tamara of The Weather Station. As the audience filtered in the band confidently performed numbers from the most recent Barchords like Caught Me Thinkin' and standout Okay, Alright, I'm Alive, plus a throwback to Pink Strat with Hockey Teeth. The song of the set had to be the surprising strength as Never Again grew and grew. Seemingly humbled by the slot Afie gushed not only about 'biking to work' but also the beauty of the massive audience with the trees and the blue sky in the background as the sun set. Agreed - it was a very pleasant scene with a fitting soundtrack.
Blue Rodeo
On this perfect summer evening the boys of Blue Rodeo, all seven of them, came to entertain and prove why this has become a summertime staple. Twenty-six years in the game they certainly have mastered a live show but that is not to say that it comes off too excessively polished. The pedal steel and Cuddy's many harmonicas featured prominently and weaved their way right from opener Head Over Heels on through. With Jim and Greg passing the mic with ease they brought most songs from their recorded state to live brilliance, slipping guitar solos in wherever possible such that even mid-set numbers came across as epic closers. An example of this was Diamond Mine with its piano and Cuddy's electric guitar solo, or even Five Days in May which had their third guitarist laying it down. Interspersed with these Canadian classics were a surprising number (5) of new tracks like Mattawa from their forthcoming autumn release, all of which sounded strong and could very well be mainstays in summers to come. That said people come back year after year for moments like Jim Cuddy playing the piano on After the Rain and their rendition of the Bee Gees' To Love Somebody which has taken on a life of its own. The most hair-raising moment was the twenty-thousand strong choir who without prompting took to their feet and took Hasn't Hit Me Yet from the band before they even sang a note - belting out the nearly literal line "..out here in the middle of Lake Ontario." This was followed by closing number - a standard - Somebody Touched Me which was dedicated to the memory of the recently departed former member James Gray and had more than a touch of gospel in its call and response.
Amazingly an hour and forty minutes had passed by in what seemed like a flash and people were hollering for more. Fortunately they would deliver with Til I Am Myself Again, before Jim Cuddy awed us all with Try. What else could be left in the tank but the ultimate Blue Rodeo song as the ladies of Bahamas joined them while Afie had to the honour of singing a verse of Lost Together to play us out into the gorgeous Toronto night. Until next year, boys.
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