Shout Out Out Out Out, Cookie Duster - CMW - Horseshoe (Mar 23/13)

Shout Out Out Out Out

My first time seeing SO4 outside of Guelph/Waterloo and there was a difference. Sure you still had the double drumset, the mountains of gear upon which knobs were cranked, turned and pushed, and a couple bass guitars to boot, but there was an electricity in the crowd too. Saturday night at the Horseshoe for CMW with extended drinking hours, not to mention the warm-up provided by Badbadnotgood all factored into it but the crowd itself played a huge role. The band even said that outside of their hometown of Edmonton that Toronto is the craziest place they love to play - something only a few bands would admit. Having only a showcase timeslot, despite it being 1:30 in the morning they ripped a mixed handful of songs from their three discs, including a couple from their debut - Dude, You Feel Electrical and sneaking in In the End It's Your Friends at the very end. High energy, high volume, high kicks - this show had everything you could ask for in a Shout Out Out Out Out show and more. (The more being a bunch of sweaty moshing dudes deciding to take their shirts off, off, off, off.)

Cookie Duster

The band started before Broken Social Scene and are just now getting their chance to play things out with the BSS hiatus. That big of a gap shows the age to some degree as Brendan Canning isn't the spry chicken he once was. They opened with Cut Me, Focus which sounded fine but didn't break down any barriers. Similarly later in the set Brendan Canning took the lead, both guitar and vocals, for Something Evil Again and although it sounded fine it was not groundbreaking. Leading lady did her best at the rock star persona however cheers'ing with water and non-believably calling us mother-f*ckers didn't really back that up while singing Two Feet Stand Up. Altogether there was nothing terrible about the set however having to say that means there wasn't much that endeared either.

Aidan Knight, Andy Shauf - Young Lions Exclusive Apt Show - CMW (Mar 23/13)

Andy Shauf

In a living room overlooking Lee's Palace people crowded around for the just announced members-only gig. Andy Shauf took to the 'stage' (perched on an amp near the end of the room) and played a string of songs on his acoustic guitar. His subdued voice worked for the low key set, though at moments we did have to strain to hear him over some Bloor Street traffic filtering through the ajar patio door. Slightly awkwardly he asked the audience if they had any questions a few time, I suppose in an effort to get to know him in the intimate setting. The lyrics were intimate and amusing the tale of the smoking hometown hero was particularly enjoyable. Perhaps six songs later they made way for the Friendly Friends who were set to bring the energy up a little.

Aidan Knight and the Friendly Friends

And friendly they were! The band's namesake was also seated, surrounded by his female vocalist/horn section, violin/bass/guitarist, drummer and the unseen keyboardist at the bottom of the stairs. The opening couple numbers from last years excellent Small Reveal serve as a nice opening and so they proceeded. The music came across very nicely in the intimate setting and people crammed into the room to attentively listen. It is really well written music that comes to life with these six musicians, even if they were forced to be seated/still due to the room's constraints. Even the cover tune worked in well. The blaring brass really complements the guitar work and insistent drumming to bring it all to life. That being said, the final song with just Aidan and his guitar singing Margaret Downe brought it alive too, albeit in another way altogether.

Aidan Knight, BadBadNotGood - Horseshoe CMW (Mar 24/13)

Badbadnotgood

The uber-talented rapscallions of Badbadnotgood played a mix of covers and originals, where the newer ones tended toward free jazz and were harder to dance to due to their unpredictable time signatures. The drummer, keyboardist and bass player were joined on more than a couple numbers by a sax player who was well-loved by the crowd. What isn't to enjoy from these promising (and grateful) youngsters bringing a fresh sound to the indie scene? By the end, following a friend of the band's invited stage dive things really took off. Yes, there was pandemonium in the pit at a jazz show. How badass is that Toronto?

Aidan Knight

Notable differences between the afternoon, apartment show and this were the volume and the energy Aidan could bring us from a standing position with the sound system turned up. The set remainder much the same though time constraints cut their cover (by audience vote) in favour of closing with Knitting Something Nice (Margaret Downe wouldn't have held up to a Saturday night Horseshoe CMW crowd anyhow). It was You Will See the Good in Everyone that most impressed this fan though. Now a little more banter while you change your tuning between every song and some playlist variation and I'll be able to say Aidan Knight is the new Dan Mangan.

Rah Rah, Two Hours Traffic, July Talk, Balconies - Lee's (CMW Mar 21/13)

Rah Rah

As far as I'm concerned Rah Rah stole the show, as they have been known to do. Their energy and stage presence serves them well as they swap vocals, places and instruments throughout the set with mostly seamless transitions. Erin Passmore was slightly under the weather and it showed but only slightly as the other female, Kristina Hedlund, pointed out how great she could sound even while sick. Kristina's own song with leading vocals on the other hand sounded amiss, without explanation. Duet for Emmylou ramped up the fairly full Lee's Palace crowd early and they stuck with them through 20's and onto First Kiss, the closer that came complete with Rah Rah balloons.

Two Hours Traffic
Perhaps it is Two Hours Traffic fatigue, or the fact that they didn't include a whole lot of new material, but it seemed like a run of the mill set from the band. Mind you that still means catchy hooks and sweet guitar melodies, there just wasn't much to push their 35 minute showcase over the edge. The fact that it was a CMW showcase probably explains the leaning on go-to's like Stuck for the Summer and closer Heroes of the Sidewalk but for longtime fans it left just a little to be desired. We wanted to hear more of Foolish Blood but would have to be content with the four, including Audrey, Magic and top track Amour than Amis.

July Talk
Four relatively non-descript guys assembled on stage to close out the night. (Okay they're describable - the drummer looked like the not-homeless movie star from Arrested Development and the lead singer had the bad boy look down, or maybe that was based on his behaviour.) The singer started up with his gravelly, punk voice (think Tom Waits) and the musicians backed him and then strutted in the lady of the hour. What a presence she had as she came in, an enchanting visage. Then she sang and I realized that under that brown, fur jacket, jean shorts, fishnets, and white shades was a voice to offset that growl nicely. As hinted, the lead singer was quite mischievous, pushing his guitarist around, kissing band members on the cheek, and playfully tugging at the lady's eclectic apparel. At one point the two with the mics knelt down to worship at the feet of their guitarist who laid down an excellent solo. It wasn't the set I was expecting having listened to a couple songs in preparation but it was highly entertaining. Another hometown band to cheer on.

The Balconies

You could hear her from the short line on Bloor as The Balconies Leading Lady started up in full rock star mode. She sure can command a crowd with her dancing thighs, wild eyes and whipped black hair; her antics really proved how she could soak up the limelight. The 4 piece band weren't too shabby either as they rocked hard in a grungy, 80's-rock way, laying on thick bass lines. In their denim vests and jackets they performed a show that was full-on and won over many in the surprisingly packed Lee's Palace.

CMW 2011: Russian Futurists (Bait Shop, Mar 12, 2011)

Unrelenting pop with opener Hoeing Weeds, Sowing Seeds. The Russian Futurists also did Let's Get Ready to Crumble and a new song Golden Years. One Night, One Kiss was a duet with an obviously new, or perhaps just forgetful, female vocalist who required crib note lyrics throughout. Introduced as an urban song ("Ever heard of rap?" challenged the ginger Matthew Adam Hart) he hardly strayed from the vibe that had already been set when playing Precious Metals. 2 Dots on a Map was 'a sensitive song for the girlfriends in the house' while "hit" Paul Simon was dedicated to the Russian Futurist Bald Spot Viewing platform, aka the upstairs viewers at the Bait Shop "because we're old". Even if the live show isn't astounding at least he's got a sense of humour to go along with the perky prerecorded pop!

CMW: Two Hours Traffic, The Reason, Gentlemen Husbands (Horseshoe, Mar 24, 2012)

Two Hours Traffic
It'd been some time since I'd seen Two Hours Traffic, meaning it had been some time since they've toured as they are firmly on my see-every-time list. Since last time there was a pretty big change in the Two Hours Traffic camp having founding member and guitarist Alec O'Hanley depart, while Liam joined forces with his cousin for The Express side project. Obviously he's been back at work with his main gig as there were more than a few new songs introduced at this show; songs that expand the boundaries of the pretty, pop aesthetic they'd built for themselves. Everything from Motown to a French song (well at least title and lyric) to a '50s ditty. These may take a few listens to bring me fully around, though I am excited to get my ears on the new disc that sounds like it's still at least a few months away. There were a few hardcore fans in the audience who responded to first album 'classics' (Sure Can Start, Sidewalk, Nighthawk, Backseat Sweetheart and Jezebel to close) while the majority of the crowd was won over as well. They didn't delve much into Territory territory besides Weightless One and Happiness Burns. Great to have them back out on the scene, new member and all, and waiting with bated breath for the new album and accompanying tour.

The Reason
The Reason's twitter handle is @thereasonrock and I'd always been a little put off by that as my memory of them was from a youth-oriented, drinkathon punk fest from more than a few years ago. Plus that pop-punk looking sneaker tee they'd made. These notions got blown right out of the room by one of the loudest rock sets I'd heard in awhile at the already notoriously loud Horseshoe Tavern. I was getting annoyed with the volume of the drum sound check and I was seated halfway back! They look and sound like seasoned vets nowadays, and rocked like youth in the wee hours (3am) of this CMW Saturday night. 

Gentlemen Husbands
I hadn't paid too close attention to Gentleman Husbands before but found them to be coming across as a loud and clear rock band when I entered the Horseshoe partway through their set. Rocking electric guitars they threw down a classic Born to Run cover, doing Springsteen justice in finale.

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.

CMW: Dine Alone Showcase (El Mocambo, Mar 23, '12)

Not in chronological order, or any order at all really.

The Sheepdogs were rumoured to be the secret guests and were the logical choice. Following hours of speculation their manager confirmed my suspicion while taking a piss upstairs, so it was pure elation when they took the stage. They rocked as they are apt to do. Learn & Burn, The One You Belong To amongst em. I'd taken off my amateur blogger cap by this point and put on my drunk music fan bib so details are sketchy but it was fun. What do you want me to say? I Don't Know!

If The Sheepdogs epitomize '70s rock I'm not sure what era Monster Truck represent but it is unabashed, straight-ahead, loud-as-they-can-get-it, rock and roll that they play. And it's pretty darn good too. Didn't realize just how loud the upstairs of the El Mo can get until I got run over by a Monster Truck (wuh waa).  

The Apache Relay were a band I was told I was going to like. From the opening a capella intro I was into it and as the band joined in it only improved. There was an energy on stage from both the music and the members that carried back and forth with the audience. The amped violin added a stellar touch too. Found a new group in these Nashville boys.

Upstairs of the El Mo (my first time ever up there) I found the bearded Spencer playing earnest acoustic guitar before his band of slide guitar, cello, violin, drum and electric guitar also came to life. Folk music riding the swell of those instruments, Grey Kingdom was a pleasant surprise. Spencer proved to be a very amusing fellow though his candid banter as well.

Also upstairs Hacienda played a set with the endorsement of one of the Black Keys members. It was a fine little enjoyable rock set though that's about all my notes have to say about these guys.

I purposely arrived early for The Great Bloomers to see what the five piece has been up to since I last saw them years ago. They played some indie rock without much flare so unfortunately they didn't stand out in the sea of CMW.

Same goes for Dinosaur Bones as Great Bloomers. I'd seen em at last year's CMW and like some of their recorded stuff but didn't set themselves apart with this middle-of-the-line set.

Unfortunately a band I was really looking forward to catching again, Parlovr, were right before the Sheepdogs but on the other level. Having already slipped in through the out door for the 'dogs I didn't want to chance being stuck away from the special guests and therefore missed them.

CMW: Michael Bernard Fitzgerald, Scenic Route to Alaska (Mar 21, '12)

It takes something to stand out in the singer-songwriter category, especially during something as hectic as CMW. Michael Bernard Fitzgerald seems to have some of whatever it is going on, though even after his Gladstone show on opening night it's hard to pin down. Fronting a five piece he primarily strummed his acoustic guitar while playing both upbeat numbers, as well as a couple he dubbed 'lovey dovey'. Old favourite Movie Life started on the right foot while the following love-dove had to compete with side conversations despite a call for quiet. To combat this he quickly reverted to a jumpier number featuring synchronized guitar strums with the drummer in the end. His two backing females features prominently as well, on vocals for Man Overboard and keys on others. As the set found its groove he slotted in another older tune in Maxine before the standout Brand New Spaces which easily improved on the already-stellar recorded version - not just for the 'Shorty Got Low' verses rapped at the end. Keeping the fun up we stomped and sang along to the oft-covered Boss' Dancin' in the Dark. In finale, now that he had the crowd, the band stepped aside and allowed him to pick and pour out the lyrics asking 'Can you hear me?'. MBF you're coming through just fine!


Scenic Route to Alaska drove (presumably the scenic route) from Edmonton to Toronto for their first Toronto show ever, taking part in CMW. The standard three-piece was instantly likable, playing the much-less-than-capacity room with spirit and charm. It must have been the slight twang of the electric six-string that conjured up Elliott Brood and Harlan Pepper references to mind, yet sounding quite different from both of these at the same time. The lead's confident vocals rang clear and were nicely accompanied by opener Alana Clark on one song as well. Some promise from these lads. They know how to have a good time too, dropping a Beatles cover in I've Just Seen a Face amid their toe-tapping tunes.

Dinosaur Bones (Bait Shop, Mar 12 afternoon, CMW)

Dinosaur Bones did play a tight set of indie rock songs, so tight that it even included precision tambourine. As they pointed put with "A big Fuck You" to the scheduler, they had the unenviable task of trying to follow up the manic set from the Zoobombs. Even with the bass player's best efforts to match by first climbing, then leaping off the speakers and running down the half pipe into the middle of the crowd it, only came across as a fully respectable set, but nothing transcendental. Wrapping up with their couple of singles, N.Y.E and closer Royalty was a strong move.

Zoobombs (Bait Shop, Mar 12 afternoon, CMW)

Definitely the most ridiculous set I've seen in 2011 and I only caught the last four or five songs. It's not that I can't remember how many, it's more that I couldn't tell as this Japanese four piece played relentlessly from the moment I walked in the door. The Zoobombs skinny ring leader frenetically demanded more and more out of them between bouts of screaming into the mic, dropping to his knees and firing his guitar in loops around his shoulders. To their credit the bandmates didn't even flinch upon delivery - in fact their drummer acted as a piston continuously firing without any signs of wear (even busted sticks couldn't slow him down). The female synth player was no slouch either and bassist good-naturedly took some playful slaps during a duel with his singer. It was balls to the wall, full throttle, and it was damn incredible. Just watch the vid and realize this is at the END of a full set just like this!

Cuff the Duke (Horseshoe, Mar 11, CMW)

Odd that they were playing a show without any released material to support, but I guess CMW brings bands out of the woodwork. Besides as they showed us, Cuff the Duke have gotta get back in the swing of things with a new album on its way. The native Oshawa lads have got their style down by now, anchored by Wayne Petti's strong songwriting and equally enjoyable vocals.

With all five members wielding their weapon of choice (drums, two electrics, bass and that definitive acoustic) and we knew it was going to be a great night as they began with old favourites including I Remember those Good Times, and Listen to Your Heart. The whammy bar was broken out in earnest on songs such as It's All a Blur, though as mentioned they also included some songs from an upcoming release that show that the Duke continues to steam along. Speaking of which that rambler Take My Money and Run was another highlight in a set full of them. The Future Hangs' harmonica comes to mind though, though the response to hometown shout-out Rossland Square helped make it explode. Wayne joked about their guitarmonies which were plentiful throughout, but the round of solos (no bass though) that we saw on the closing number were super impressive. In fact the set was impressive altogether. Thanks for the show Wayne and co.!

Hooded Fang (Horseshoe, Mar 11, CMW)

Dressed in the gaudiest clothes they could find in the vintage shop Hooded Fang took the stage over from The Sheepdogs who had done a fine job warming up the max capacity Horseshoe for Chart's CMW showcase. Filled out to a full seven members, including a doublet brass section that totally made Laughing happen, Hooded Fang played a jangly set that entertained, even if it didn't 'wow'. Leading lady did her part in not only singing but playing what looked like a toy accordion and some mean xylophone. Their latest album, Album, is quite catchy even if it seems to roll by without grabbing attention all too often. The same could be said for this set. With all that man-power it'd be great for them to really put on a show, and not just a fashion show.

By no means is this a negative review, just a blase one for a band that I was really excited to see again. I'll be rooting for them when the tour rolls around again in support of their NEW album they announced at the show should be out in the spring!

Winter Gloves (Horseshoe, Mar 11, CMW)

All Red did it for me. I mean I already liked Winter Gloves well enough but last year's album hooked me in as a big fan. First time seeing them since its release, I was pretty stoked and they lived up to the expectation by putting on a fun, danceable set of music that pumped out energy. (Best set of the night for that.)

As was the case the last time I saw them, they opened with About a Girl single/opener Factories which is always a good choice to get those toes tapping early. By the time Plastic Slides (a personal fave) played a couple tunes later those toes tapping already surpassed hand claps and moved into ass shakes (and a tambo toss by lead singer that seemed to smash into the stage perfectly on the beat!). It shows the musicianship from this Montreal band that they can play their many instruments one-handed; strumming a guitar while shaking a tambo, or just showing off as the drummer repeatedly raised one stick in a salute while driving the beat with the other. They know how to compose a song too - those dark keys on Trap the Mouse add a real edge. All told the song-writing, the music and the showmanship combined for a hugely enjoyable, up-tempo hour at the 'Shoe.

The Sheepdogs (Horseshoe, Mar. 11, CMW)

It is tempting to start listing off the classic rock'n'roll influences heard in The Sheepdogs music. Fellow Western Canadian band The Guess Who is an obvious one. Even moments are reminiscent of The Doors would apply. However it seems more accurate to say that this band is a classic rock band of yesteryear. As if wormholed back to the turn of the decade 1970 the Sheepdogs blasted out guitar licks while maintaining a straightforward listenability. They looked the part too with their shaggy hair, and shaggy, white-fur guitar straps. The titular track from their last album, Learn and Burn, came replete with soaring guitar solos and rock drumming, but that is only one example from a unabashedly loud rock set. For half an hour at the 'Shoe last night it was the seventies and the crowd was more than willing to go along for the trip!

Yukon Blonde (Great Hall, Mar. 10, CMW)

From the rhyming triplet introduction for Buck 65 (Neutron bomb/Yukon Blonde?) right through to the ripping guitars of the final encore song this was a set to please. This four piece blasts ahead with guitar rock that has enough pop sensibility to have you shouting along all night. Along with the familiar cuts from their self titled, post name change, they mixed in a handful of new tracks that were completely up to snuff. Collectively they've got as much talent as they've got hair and that shone as they ripped guitars all over Bride's Song. In fact the dude with the short hair, relatively speaking, could be seen noodling incessantly as well as providing the ooooos on Wind Blows.
Other highlights were when they pulled enough friends up on stage to double the Yukon population, as well as their incendiary encore closer that smoldered until it finally caught flames and roared.

Memoryhouse (Great Hall, Mar. 10, CMW)

Memoryhouse are the band that somehow slipped past the campus-radio music coordinator and his sidekick (that's me) in their hometown of Guelph all the way to a raving review on The 'Fork. I've been curious about the band ever since and finally the opportunity had arisen to take them in after enjoying their EPs for the last few weeks. For this reason I'm disheartened to report that what is so lovely in my headphones did not translate to the stage sure there's a host of excuses - first time all four played together, cavernous hall on a mixed music fest bill, or simply that this tending-toward-chill wave music is difficult to present live. Regardless the heavily synthesized guitar blaring from the speakers missed the mark and the lead female vocals didn't come across lovely and hushed as I wished they would. I thought about saying that perhaps it is for the best that I never saw them live, but on second thought maybe an intimate (Memory)house show with a captive audience would be less a disservice and more suitable. The final song, slow and soft, came closer to this, at least for the first two rows.

Young Empires (Great Hall, Mar. 10, CMW)

Kinda like USS but without the extra dose of party, this three piece spread some guitar, bass, and keys thinly over pre recorded dance beats. There certainly was an ass-shaking element to the set but unfortunately they were trying to get notoriously rigid Torontonians to dance simply by goading us into it. If it was my band I'd craft a new song over a familiar beat, play it early and set the tone to get people moving.

Prussia (Great Hall, Mar. 10, CMW)

With vocals like the Born Ruffians bordering on Boats, Prussia took to Toronto from their home town of Detroit (Rock City). Here the five entertained by playing indie rock to the early crowd in the great Great Hall. Their sound can further be characterized by their offbeat timing and the singer's ever-present maraca that he shook and tossed all over the stage. For at least one member it was his first time in Canada and personally I'd love to see them back once they've fully flushed out their sound.