Owen Pallet - Longboat (Great) Hall, Toronto Nov 9, '19

Camille Elle from Army Girls took to the stage first with a couple of electric guitars for herself. At first it didn't seem all that inspired singer-songwriter but after she introduced herself and admitted to some of her anxieties leading up to the show the crowd got behind her and things improved. The start of the upswing was when she played an Army Girls song that had some more oomph, followed by a self described "It Gets Better" song addressed to her teenage-self that further endeared us to her. From there it was smooth sailing as she got stronger with her stage presence, vocals, and just the overall flow to the set.

Owen came to the stage in a long, see through black robe of sorts. While tuning up he introduced himself and warned anyone who has attended the previous night (added due to popular demand) that it would be a near identical repeat "but I'll play it better." In his charming manner he explained that it was a cohesive set, best run uninterrupted and kindly asked us to hold any clapping until he gave us the go-ahead. With a guitar strapped on his back and a violin hung from his mic stand he began as a projection faded in from black behind him. It was a new, lighter take on an In Conflict track to start us off. From there he followed with mostly new songs through the main set, much of the instrumentation coming from the guitar, although his signature violin still featured well. Overall it was a more soothing sound than his earlier frenetic Final Fantasy music, still building songs layer upon layer via his looping pedals as there were no other musicians, yet it showed a lot more restraint. The base layer of the songs was often from the guitar before adding the violin and finally that beautiful, delicate voice of his. The visuals, by a woman named Trudy, continued in their very slow panning through abandoned towns, fields, valleys, and coasts. It was all lovely though it may have been better suited for a sit-down show due to the pace and the fact that it was predominantly new material.


Later on, he did include a couple of released songs, primarily from In Conflict including an album highlight The Passions, some as originally recorded while others got a new take. Finally he broke and was washed over with applause before playing one last song - I believe this was the moment of a personal favourite, Lewis Takes Off His Shirt. Taking a small pause backstage I really wasn't sure what to expect from this evening, whether that was it, but alas he returned for a few more which helped to make up for the indulgent first half. But first he had a chat with the audience and took questions, including "when is It out?" to which Owen gave the unclear response "It. Funny thing is, it's been finished for nearly two years. I listen to it sometimes; it's really good." Another was "when are you playing Toronto again?" which was met with mock outrage "I haven't even finished this set!" There was also banter about how he lives five minutes from the Great Hall and that he actually walked over, though the question about an afterparty at his was met with a laugh "Afterparty? There will be copious amounts of herbal tea." In terms of music he introduced I Am Not Afraid as "my favourite song that I've ever written; I'm just happy I finally learned how to play it." To close it all off was the song that has had many renditions and is a live show stalwart, This is the Dream of Win and Regine, which reminded me of the amazing way Pallett's violin loops and voice can draw me in and take me on a musical wave all while stood in a darkened club. Thanks Owen, looking forward to It.

Ohbijou Farewell - Great Hall (Sept 7/13)

The current Ohbijou lineup consisting of six members who will go down in the Toronto music scene history books began the night with a standout set of Ohbijou's better known songs. To be frank, I am a discriminating fan who enjoys a number of singles but has also fallen asleep at previous shows (mind you they were in the grassy sunshine). With hits like Black Ice, Niagara and St. Francis it wasn't hard to retain rapt attention for this initial 40 minute offering. From here we had a break to commiserate over the lose of the Toronto gem before a whole host of local musical celebs paid tribute to a band who had shown such grace and generosity throughout the years. It was a veritable who's who of Live In Bellwoods with Nils from the RAA, Evening Hymns (Jonas and Sylvie), Gentleman Reg, The Acorn lead singer, Kat Burns formerly of Forest City Lovers, Neil Haverty (of Bruce Peninsula playing drums in a threesome calling themselves Pumpkin Foot), Wooden Sky, and Snowblink. Casey and sister, Jennifer, watched from the balcony, beaming at the outpouring of love. Further showered by John O'Regan aka Diamond Rings, Lisa Bozikovic and Nathan Lawr each doing a different take on an Ohbijou tune.

It was bittersweet then when the band returned for a final set of deeper cuts. Personally I wasn't enthralled the entire time but it was nice and a few guests came through to join them. In the end ALL the guests came out for one final crescendo to close the Ohbijou chapter. We will see what life is like without them (and hopefully what other artistic endeavors the members are now free to pursue).

Notes

Niagara flaws
St Francis. Extra drumming
Black ice
Other side

Reg violin guitar and cello just 4
Evening hymns.
Moving lights background video
Snow blink
~

Nils, banjo
Acorn, surging urgent

Kat burns solo, Casey singing along
Wooden sky
Jonas Sylvie evening hymns. 6 years only playing music. Tumble weeds
Acorn 2
Neil haverty drums pumpkin foot
John o Regan, e looping
Lisa bozikovic, Sylvie
Reg looping vocals . Weird
Snow blink

Nathan lawr, barking at your door singalong.
~

Encore
Casey around the floor, clap and laying. Neighbourhoods.
Finale x everyone. Come on!

Maylee Todd - Black Box @ Great Hall (Apr 25/13)

What a relief it was for the uncomfortably loud club scene, with its brain-rattling bass, to finally dissipate after a couple long hours so Maylee Todd and co. could take center stage. Well, at least Maylee took center stage, introduced by her self-proclaimed comedian roommate, and the rest of the stage was crammed with her 7 piece backing band. She opened prettily with her harp and her voice before the bass, guitar, drums, keys, and flute came in. Maylee was dazzling in a shimmering dress (designed by her sister and repeatedly likened to resembling a vagina) and long braids wrapped around her head with emphatic facial makeup  Her performance was also dazzling, as she primarily focussed on adding her spectacular vocals to the range of groovy, funky, smooth tunes. She had some help too, audibly from her duo of backing crooners and visually from the synchronized, sparkling dancers that joined her partway through. In terms of song highlights the back to back combo of Baby's Got It and Hieroglyphics were easily it, but the whole show was a performance. The encore resembled a second set, as the dancers entered the crowd as hype men and women, tossing glow sticks and inciting excitement and dancing. An extended breakdown saw an impromptu dance showcase from the crowd, in an aisle on the floor dubbed a Soul Train. Altogether it was a blazing album release party.

Wavelength XIII - Evening Hymns, Do Make Say Think, Sarah Neufeld - Great Hall (Feb 16/13)

Evening Hymns

Evening Hymns are achingly gorgeous and especially so as just Jonas and Sylvie opened to 'sing these hymns' from Arrow. Soon their ranks swelled to six with Sylvie taking bass duties and Jonas on electric guitar plus a female violinist, multi-instrumentalist on keys/horn/accordion, guitarist and drummer. They brought the phenomenal Spectral Dusk back to life with Family Tree and the haunting projections of the moon in the background fittingly for Moon River. Apparently the plan was to debut 'like 9 new songs' but instead the couple have been holed up in a cabin making beer and restoring a canoe, so they played Cabin in the Burn instead. It is fulfilling to see the live show live up to the great heights of the recorded material, including an impassioned Dead Deer and the up-tempo acoustic of Broken Rifle from 2009's Spirit Guides. Not sure that there's ever enough Evening Hymns it was bittersweet as they announced their last song, the sing-it-out Mtn. Song and only then did my attention break.

Do Make Say Think

A much heralded return to the stage after a lengthy absence Do Make Say Think in their five player configuration were well received. Double drums and a couple swapping between keys and guitars plus Charles Spearin on 6 string bass made up the 2013 iteration. Opening funnily enough with the End of Music they delighted with their fully instrumental music. Obviously skilled musicians they were entertaining enough but with the hour, lack of familiarity or outgoing stage presence it only took a few songs to satiate before calling it a night.

Sarah Neufeld

There has been some significant hype surrounding Sarah Nuefeld's set and forthcoming release, and not solely based on her ties to the Arcade Fire. By the time she launched into her second song however it had become apparent that it was just instrumental violin (not Final Fantasy). Sure, it was emphatic and interesting violin but that was all it was - not exactly the groundbreaking, hype-raising new music that it had been billed as. The highlight, for both the variation and the caliber of performers, was when Colin Stetson and Geordie Gordon (The Magic) joined her on sax and keys respectively. Apparently the hype extends to fellow musicians - let's see what spending some time with the record does for her.

Doom Squad

Rushing to the venue to see what Wavelength had in store as an opener I realized I needn't have hurried. Primarily pre-recorded, the two females and barefoot male of Doom Squad essentially just danced and sang mostly non-words. It was loud and a few people shuffled along with them but it missed my mark - even the reimagining of Riders on the Storm that closed things out.

Long Winter III - Light Fires, Buck 65, Vag Halen - Great Hall (Jan 11/13)

Light Fires was an unexpected romp as Regina had a fire lit under herself. She was all over the conversation room, singing like a diva, dancing like a madwoman and even scaling the walls and windowsills - all in massive heels. The energy was infectious and it didn't matter that the beats were coming solely from backing tracks played off an iPod it moved ya and got people moving. An impressive display of energy as she simply went for it!

A band called Vag Halen, a female 80s cover band who did Van Halen and GnR, played and they were wild. The singer was wearing panties and a completely see-through cover-all which covered nothing. Anyhow the crowd loved it and they were quite fun and ended up being much better than I ever could have expected.

Closing out the night Rich Terfry took to the main stage to the stragglers who stuck around and hadn't headed downstairs to the dance party. With his laptop center stage he'd boot up a Buck 65 beat and then spit over-top of it, all the while shimmying around the stage. A solid number of the tracks I stuck around for were new songs from an upcoming project leaving me with a somewhat unfulfilled feeling.

Feist, Hayden, Snowblink,, more - Basement Revue at Great Hall (Dec 20/12)

Expectations were high for the first Jason Collett's Basement Revue outside of the friendly confines of the Dakota Tavern basement and that may not have worked in the evening's favour. It had been billed as a reunion of all of the best of years past back on the stage at the also charming but much larger Great Hall. The Revue has been known to host some rather big acts through its years which lead to speculation and rumours, some built up by Mr. Collett himself in pre-show interviews, that ramped up the excitement.

The host opened the evening with a solo song that brought the focus to the stage for him to then ramble a little further about the night to come. Eventually he gave way to the duo + one of Snowblink who have been very well represented in Toronto of late. The additional female vocals added a new layer to already beloved songs like Unsurfed Waves from the only recently released Inner Classics.

From here there was another romantically linked musical pair in Andrew Whiteman and his bride, Ariele Engle who reinterpret poet Alice Notley's works into songs... on cigar-box guitars. No, it actually isn't a weird as it sounds, especially since Andrew wields his electric guitar (upon which he always slays). Actually it worked really well and was a thoroughly enjoyable set - enough to prompt listening to the EP that is currently out and whet the appetite for the full-length due this year.

Following this was the first downfall of the larger venue where despite Jason's pleading to keep quiet, pay attention and stay off your cell phones the attention was not all there for poet Marie Soliel(?). Her poetry wasn't bad either but it was hard to be entranced by it with all of the distractions.

Hayden fared much better as the notorious recluse was the one true surprise of the night and commanded the attention of the crowd. With a full five-piece band including Lou Canon, and Howie Beck on the drums, they played a couple new songs from his forthcoming album as well as an older Hayden song. This was actually the first time that I've ever witnessed Hayden live and realize just why his shows sell out in a snap. (Anyone have an extra ticket for his upcoming 3-nights in Toronto??) A great lyricist, a natural showman without being showy and a distinctly Hayden voice.

The next poet, Jeramy Dodds, was able to hold the crowd better as his poetry was more obvious and quite hilarious in fact. Finishing with a tongue-in-cheek ode to Canada people were hanging on his words and laughing right along which brought a whole new dynamic to the show.

In keeping with the literary aspect radio host and rapper, Buck 65 regaled us with an excerpt from a story that didn't seem all too believable but was told with the ease of a man who speaks and tells stories  for a living - which goes a long way.

Following was another BSS member - the ringleader, Kevin Drew. He led his band, including Charles Spearin (also BSS) on guitar, through a full rendition of a brand new song called Good Sex and then Kevin Drew's ego launched right back into the exact same song again. It was decent but there's no need to repeat a song, especially when that is all you play.

The Kevin Drew spectacle remained on stage as Chris Murphy (Sloan) performed his party trick - to sing a string of back-to-back-to-back one-liners from songs of yesteryear as heard on some informercial. It was hilarious and entertaining and he didn't falter throughout the 45 second spiel. This morphed right into the introduction of Andy Kim, the co-author of the song Sugar Sugar, and off we went into an Andy Kim led singalong of that old, old tune. It was kinda marvelous!

Next up was a rousing response to the appearance of Michael Ondaatje. Perhaps it was my ignorance to his works but the excerpt he read from his book somehow kept the audience rapt while I couldn't find anything within it to engage me - and it hardly stood on its own. The definite low point in the night for me (though apparently not for the majority in attendance). Fortunately it was all up from here!

As anticipated Leslie Feist finally was spotted on stage, having been mostly lurking out of sight, unlike many of the other performers who were previously spied watching from upstairs. In an interesting programming node Feist was flanked by Snowblink to her right and Aroara to her left, with Charles Spearin holding a bass guitar. It was great to see both these bands performing again after their abbreviated sets earlier and as they played together on a a few (rehearsed) songs from each of their catalogues it proved that this was a mash-up to die for. All three female vocals melded in dream team harmonies. Feist's The Bad in Each Other was a particularly strong inclusion though Snowblink's Pray For Surf would have to be tops for me - otherworldly. In closing they performed Aroara's Number 4 and it was stunning as well though as pretty well all of the performers from the entire night came back out on stage they didn't know what to do and couldn't exactly join in so when the song ended the show came to an awkward, abrupt stop. With all of that talent standing around there was an expectation that magic would transpire... but nothing did, and so after a delay we accepted our fortune and filed out not sure how to feel.

Looking back on the performers it can be said that it was indeed a very strong line-up and an enjoyable evening however the way the expectations were toyed with there is a lingering feeling of a missed opportunity - not quite disappointment but not 100% satisfaction either.

Maybe next year?

Hey Ocean!, The Zolas (Great Hall, Oct 12/12)

Hey Ocean!

Both the crowd and the band brought mountains of energy to the Great Hall on Friday night. An uplifting welcoming cheer went up Hey Ocean! hit the stage and increased when frontwoman, Ashleigh Ball, emerged at last. Ever-enchanting, she endeared us all as they launch into tunes from IS, their most recent, and wonderful, pop record. Throughout the night she beamed as she sang her way into our hearts, and a few lucky front-row folks even had some intimate encounters, especially the lucky guy whose hair she caressed. My friend had the mic passed to her and we sang out some ooo's while Ashleigh let go with some on-stage dancing. Later on she encouraged us all to Make a New Dance Up and the typically movement-phobic Toronto did HeyO proud by grooving all over the floor. Following this up with the cover of Be My Baby was a stroke of genius as it kept the dance party moving.

 They mixed it up a little as well, such as when bass-Dave (Vertesi) took over the vocals for the Dolly Parton riffing Jolene, which has really grown on me. Ashleigh pulled out her flute for a tune and the whole band surrounded the drummer with sticks flying on another. Finally they closed out with a Big Blue Wave but were back for a couple older tunes including Too Soon in encore. Dave V climbed the speakers on one side before leaping off - and in an anything-you-can-do-I-can-do-better rebuttal from Ash she not only climbed the speakers but right up onto the upper floor railing and tight-rope walked along the top of it in a death-defying closing stunt. (See Set Lists below)

The Zolas

Besides the excellently catchy Marlaina Kamikaze that has kicked around on my playlists for years, I haven't paid too much attention to the Zolas. Working out of Vancouver the chances to see them have been limited and so this was the first opportunity. A friend had really psyched me up for the set and with the recently released album I had high expectations. Perhaps it was in the dim lighting required for the black and white films being projected onto the band and the curtain behind, or maybe the absence of one of the two founding members, but it is hard to explain away the lack of dynamism of this show. Technically the five guys playing guitars, bass, keys and drums (including electric pad) didn't do anything wrong they just didn't really draw us in all too much. Maybe increased exposure to the new material, both from the band playing it and from the crowds hearing it, will improve the live experience. In good form and smart planning they did close with Marlaina Kamikaze and it rocked, so they've got it in 'em and they left on a good note!

Set Lists

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.

Bruce Peninsula, Dusted, Skeletones Four (Great Hall, May 24 '12)

Bruce Peninsula put on a jubilant first show back after a string of at least four late last year. Not only was the crowd enthusiastic but the band themselves were ecstatic to be reunited; hugging and laughing amongst themselves. It is always a treat to see them in full and that's what we got as all ten members belted it out for us in the lovely and relatively full Great Hall. At one point the crowd unanimously broke into a massive handclap on the first beat of the breakdown which brought a large smile to lead male vocalist Neil Haverty. Similarly when second man sang The Swimming Song, one of my favourite covers (period) I had an equal beam back. Their own material was just as great and following Adrenaline they closed out strong with Steamroller with Neil finding himself steamrolled to the stage, a move he'd concede afterward were accidental but evidenced the power of the song nonetheless. The encore cheers were legitimate, hauling everyone back out for the first song they ever wrote together, Weave Myself a Dress, into Crabapples that Neil climbing to the balcony to close the triumphant set.

Dusted

Dusted is Brian Borcherdt's incarnation outside of Holy Fuck that isn't his stripped down solo work. This project borrows from both - the high vocals through mic effects, the similar guitar of his solo work, but the more full sounding and effects of Holy Fuck. The drum set carried a keyboard, effect knobs and electronic drum pad (as well as a backlit, transparent kick drum). Volume was up and music enjoyable though as it was a first listen the set did run slightly long, even with the mid show appearance of a large, red-panted and bearded violinist to mix it up. Outside of Holy Fuck this may be the happiest medium for Brian's musical output.

Skeletones Four, as the name suggests, are a 4 piece from Guelph, Ontario. They embody the guitar

as their clear, ringingly sound is obviously technically polished and sounds great. Primarily guitar-focused there are some lyrics to surround the instrumental breakdowns that are sincere and do not come across as proggy or pretentious. The bass lines emanating from the Gordon brother, Evan, in his signature cowboy boots and buckle, were strong and smooth, especially on third from last, also the best song of the set. Someone said they should score a movie and I could hear it; a gripping tale of adventure and suspense.

Sunparlour Player, Harlan Pepper, Strumbellas (Great Hall Dec 10)

 As always, the three-piece Sunparlour Players were in fine form and snazzy dress for their home-away-from-Windsor homecoming album release show. With much happening on this busy Saturday night in early December there was still plenty of room left in the hall to dance, but the still solid amount of members of the crowd poured out the love to make it a beautiful show. Releasing Us Little Devils it was fitting to open with its opener, Runner, though following it with fan-favourite If the Creeks Don’t Rise was only disappointing in that this song wasn't there to look forward to as the show progressed. The strength of the rest of the catalogue proved itself following this with all sorts of treats including Battle of ’77, O’Captain, and John Had a Bell and a Whistle. Their now infamous version of Thunderstruck didn’t harm matters either. It was the superb new single Green Thumb that capped off the set and led to a raucous ovation that brought the trio back out. They ripped out Dyin’ Today and Red Blood Red of Home and a third in encore, yet these still did not satiate us. We stomped and cheered, for it had been a special performance, and were rewarded with Hymns for the Happy closer, Talk It To Death, that was the final gem from this wonderful group. Seeing a band known for their live performance exceed the lofty expectations they set for themselves by bringing it to a new level is extraordinary indeed.

Harlan Pepper have been growing up quick and putting on mature performances beyond their years. On this night they opened with Reefer, swapped guitars all over the place, and played Wine - making reference to how they’d just recently all come of legal drinking age. A solid rendition of No was performed as well before they wrapped it all up with a classic rock medley. Everyone thought it was be Skynyrd's Sweet Home Alabama but much to our delight it was the Werewolves of London which then melded through a series of other throwbacks. The mature influences shone through in these young fellas.

The Strumbellas were just finishing up, and finishing strong, as I rolled into the Great Hall. There was a whole lot of strumming, banjos and exuberance going on as the seven-piece brought it down in the finale. If the entire set was as strong as what I caught then I totally missed out.

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.