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. 

Cold Specks - I Predict a Graceful Expulsion (Year-End Album Review)

A preview of my forthcoming annual, year-end, favourite albums post. Below is an album that is definitely under consideration - time will tell where it ends up on, or off, the final list.

Cold Specks - I Predict a Graceful Expulsion
Where did this astounding voice come from? Nevermind, we should all just be thankful that she's here. Sure Al Spx had to floor some people overseas before drawing them back home to Canada to make a go of it. Now that we've had a chance to hear the amazingly untrained voice (at least professionally) there's no going back. On the album this instrument is put on full display, and rightly so, with sparse though creative instrumentation serving as a fitting backdrop. Each song is a lovely little present and when strung together serves as an ultimate gift. Best of all, with each listen it continues to give.

Feel free to check out last year's list or my Top Albums lists dating back to 2002 on my previous Vernacular blog.

Hillside Sunday Morning - Wooden Sky, Ohbijou, Memoryhouse+ (July 29/12)

Yes it was the Gospel Hour first thing Sunday at Hillside but many people found themselves in the school of The Wooden Sky, perennial workshop favourites, who were blessed with the angelic presence of Ohbijou. A workshop should be fun and interactive and that's exactly what was delivered as both bands collaborated, mixing the cut-off shirted guitars and banjo of The Wooden Sky with the female cello, violin (and trumpet) of Ohbijou. What beaver-loving Canadian doesn't love The Hip? Little Bobcaygeon got things going and rolled onwards with You've Really Got A Hold on Me (Smokey Robinson). The epic height difference between the bands was rather amusing yet their musical styles lined up well enough for a very appropriate '60s feel on Carole King's Will You Love Me Tomorrow. Now the Wooden Sky did indulge in a song of their own - however it was the first time they'd ever played it for an audience so still a proper use of a workshop. Future Hillside bands, please take note - this is how to throw a workshop!

Following that uplifting beginning to the day the true Gospel Hour beckoned just in time to catch a tune
that had most on stage (Be Good Tanyas, Birds of Chicago, Elephant Revival), as well as most in the bursting Island tent, "wade into the water". The hatted ladies in the front of the crowd first started getting into it and then everyone joined in. There were even solos; trumpet, keyboard and a washboard solo. Raise your voice!

Having toured together one would hope that the Great Lake Swimmers and Cold Specks would have enough familiarity with each other's material to collaborate on it. Unfortunately this did not seem to be the case as the few songs from both that were caught during their workshop saw them simply swapping back and for. Cold Specks did perform When the City Lights Dim which saw the GLS crew backing her up.

Memoryhouse and Imaginary Cities both make some very pretty music but there was no synergy here. Even worse than the track for track stylings of most poor workshops they simply split the timeslot in half with Memoryhouse checking in first used a drum board to play a few tunes including a cover. The male member understandable stayed seated to play his acoustic guitar as he'd have worked up a sweat moving around in that heavy sweater in the July heat. The drummer's percussion was subdued by his soft tipped sticks and also employed a shaker. Taking over Imaginary Cities played three songs of their own, nice but not even reaching heights from their full set on Saturday, leaving not much new to remark.

Hillside Sunday Eve - Cold Specks, Joel Plaskett+ (July 29/12)

I Predict a Graceful Expulsion is a beautiful record based primarily on the lovely voice of the young Al Spx. Performing under the Cold Specks moniker she put that voice on display as she opened a Capella, but for much of the rest of the set was backed by a couple of competent Englishmen and a Winnipegger (electric guitar, keyboard and drum, plus her own electric). There had been some well-deserved buzz about this artist and this was reflected in the tent turnout. Unfortunately for any fans not yet indoctrinated to the church of Specks it must not have been quite as captivating and resulted in an audible buzz of conversation overtop of some of the quieter songs (a pity). Naturally drawing much of her material from the debut album she did it justice and even included a few non-album cuts as well. With about two minutes to spare at the end of the set Al delivered an astounding unaccompanied old standard that just about floored me. Raw talent was on display.

A surprisingly small crowd greeted Memoryhouse considering they are locals AND they had a positive review on Pitchfork. Perhaps that's the snapback from not touring locally or being overtly involved in the Guelph scene? Regardless the two primary members persisted, Denise on keys and obviously lead vocals, and Evan seated with his acoustic, accompanied by a live drummer. Akin to Beach House, the music (especially that from the early EPs) is more suited to headphones in a lonely bedroom than being played live, especially at a festival. Not varying much from their workshop earlier in the day they played a couple of the same songs, even the same obscure cover that is a sonic departure for them, and didn't really make a connection either way with the audience.

Half Moon Run were slightly better dressed than the schmucks they looked like last time around, they wore simple jeans and tees while engaging the crowd. Their show works in part because of its dynamism as they are constantly swapping instruments in and out and between each other on nearly every song. The group featured as many as three drummers during their set this Hillside. Even the sound varies, including a supreme R&B groove on one of the newer songs that really hit the spot. Reception was solid and it's great to see this band continue on their upward trajectory.

Having seen Great Lake Swimmers a number of times, even on this very stage, it wasn't that high on the objective list to spend another few sleepy songs in the grass. That being said Your Rocky Spine is a stellar tune, especially keying on the lyrics, and it's always a treat to catch that, even in passing.

Having built and built their reputation from exceptional performances in their workshops over the weekend it was finally time for the Birds of Chicago to showcase their wares all on their own. Playing to a tent full of mostly new converts this part primarily American (Chicago) band, with ties to Canada, put on a show living up to the bar that they had set for themselves. From the few songs that I did catch it seemed that they were putting a lot into it and getting a lot back from the crowd, even on their non-English language track. It wouldn't be a surprise to see this band returning in the coming years as audience and band alike seemed to thoroughly enjoy the interaction.

The Slakadeliqs came in with some hype behind their recent release having garnered all sorts of accolades for its genre busting sounds despite consisting of a fairly standard four piece configuration, drum, acoustic, electric and bass. The crowd was fairly meager being up against some strong names on the other stages but they did their best to amp it up in the Island Tent regardless. There's a definite groove to their music that carries them along.

As disappointing as it was for Joel Plaskett to miss a couple of workshops earlier in the weekend (imagine the songwriting ability coupled with Tony Dekker and Bry Webb??) it was worth it as the extra couple of days of rest allowed Joel to come out very strong for the main stage weekend ending set. Not only was his definitive voice there and strong but he was his engaging self, putting on a show like the showman he is, including a moonwalk-like slide to cover the stage. Opening with classic Down at the Khyber he mixed old with new, slow (particularly Heartless, Heartless, Heartless) while putting some emphasis on the surprisingly strong recent release, Scrappy Happiness, considering the self-imposed song per week time constraints put on the writing and recording. Lightning Bolt seemed particularly appropriate not only because of the threatening thunderstorm but also the lyric "I was sick but now I'm cured". Following a set that met and exceeded Joel Plaskett set requirements he settled in and had some fun with us. There was the singsong of "Rain, rain go away", a little April Wine, and then some doo-a-ditty into Work Out Fine. This last one saw him dancing himself to the ground only to catch a glimpse and be mesmerized by the moon for a minute or so (from his back, on the stage). A consummate professional he knew how to close a set with the the Joel Plaskett song in many people's minds - Nowhere with You - and finally his eccentric live rendition of Exraordinary. Encore! Encore! And so he did, persisting with Harbour Boys with just our clapping as he dealt with a broken string only to come back strong and rock out the ending. Putting a nice cap on the evening, the weekend and another fabulous Hillside was Come on Teacher, complete with a Hillside referencing freestyle. Oh Joel.

Cold Specks, Snowblink (Great Hall, Aug 8/12)

Snowblink opened with the song I know them best for, Green to Gone, as the Daniela Gesundheit, leading lady strummed her electric guitar and her backing fellow played his while seated, like the rest of us. Her vocals soared above her looped guitar in The Great Hall. Visually she was dressed all in white and had a set of antlers affixed to her instrument. Following a Springsteen cover of State Trooper they launched a vote that was sorta won in favour of a Spanish ranchero tune. Next up was a really strong song from the forthcoming Inner Classics album before finishing with one more song. With the great vocals in a nice venue it served as quite a warm up for the main event.

Cold Specks
Al Spx opened a cappella, much the way that she carried the entire night with her voice. Not to say her band didn't play their role, with the cello (sometimes bass), keys, sax (!), electric guitar and drums to reinforce her guitar and voice. Unable to decide on a set list they decided to play the I Predict a Graceful Expulsion in order - potential to be boring but broken up by the Fresh Prince opening song, opening verse, cover. Additionally she broke the somewhat serious mood her music seems to convey with lighthearted banter between songs.

The way the songs are composed is really quite interesting as the instruments ordinarily take the back seat to her magnificient voice, and rightly so. The instrumentation does come in and out in flourishes; an intricate blend that is unlike most music today yet followed the recorded songs well.

On a sweaty, Toronto night the capacity crowd had no issue sitting through this set. The band also sweat through it wearing their Sunday best but not being hampered by it in the least. Nearing the end of the set they played Lay Me Down for one of the first few times live and then had a finale where she stepped away from the mic to fill the hall with her booming, gospel voice. This received an emphatic standing ovation that welcomed them back on stage. Unlike Hillside where the encore needed to be cut short here she sang a gospel song on her own before the band returned to play the new All Flesh is Grass and one other tune to wrap up the night.