Daniel Champage - Hillside 2014

Daniel Champagne was a part of a workshop on Friday night and was easily the best discovery of the evening, winning me over with his first of only a couple songs. Just him and his guitar - the tune had it all, quiet and loud with plenty of different percussion. Sure you've seen someone tap their guitar body before but not in the amazing assortment of ways that he did here. I was stunned and awed. His next song showed more of a lyrical bend rather than focusing on the antics but he can hold it down on both fronts. 

When Saturday rolled around his set had gone from a who?? to a must-see. Opening with that same song he showed off the wares but then kept the audience's rapt attention for the set. In the end it wasn't a surprise that the audience who had just witnessed budding greatness got to their feet in appreciation. 

Later in the weekend he played as part of a guitar workshop including fellow Australian Kim Churchill, who he had actually met coming up along the way, Danny Michel and Stephen Fearing. And though being a couple of juniors amongst renowned guitarists both him and Churchill more than held their own, earning the visible respect of a seemingly cool cucumber in Michel.

San Fermin - Hillside Saturday 2014

Written by a college student studying music it kind of shows, but in a good way. The sounds on the album are big and thought out, incorporating plenty of brass and keys. To translate it live there was a large contingency up from New York representing. They projected the ideas very well, bringing them to life. The leading female vocalist was on and the brainchild also held his own in the vocals department. Being the lovely Hillside crowd that we are we made them feel appreciated by standing and grooving and cheering along.

Hey Rosetta/Royal Canoe workshop - Hillside Sunday (July 27/14)

There's a possibility for greatness with every workshop. Putting two or three competent groups of musicians together to see what happens has the potential for greatness, yet often falls flat without cultivation. This set did have a great deal of thought put into it as apparently Hey Rosetta and Royal Canoe had burned up each other's inboxes as they narrowed down what they would do. Twitter had tipped it off but off the top of the set it seemed like the tweet had been a ruse since they were going back and forth, just assisting on the other's tunes like a pretty standard workshop. Then it began, as they all took their places and broke into it - Abbey Road,side B. It may not have been note for note, and wasn't mean to be, but had obviously been rehearsed. As it went on, without stopping, the swelling of good vibes grew. Somehow people were still seated partway through until finally a few in the crowd couldn't bear it anymore and jumped up - everyone else followed. It was rousing and uplifting and by the time it wound to a close there were grins on faces all around. The frontmen, Tim Baker and Matt Peters, realizing there were still a few minutes left after they had finished and walked off to thunderous applause, hopped back up. I was hoping for the beloved Hey Rosetta Graceland cover but instead it was another short, silly cover that almost would have been better skipped as Abbey Road was tough to beat.

Alvvays, Hydra - Hillside Fri (July 25/14)

Alvvays
In the time since I last saw this band, when the first hints of buzz were beginning, that buzz has grown to a roaring chainsaw! As you can tell I was less than enthused by the first listen to their gazy music but having heard the recordings now, and curious to see if I'd just missed something, I joined the throng of others who had heard the praise too. It was a definite improvement as Molly had more of a stage presence and Alec didn't appear quite as bummed but at the risk of sounding like a hipster I still don't know that all the hype is warranted. They saved Archie, Marry Me, the first single, for the end because people were already paying attention.

Hydra
That first showing in the Great Hall seemed like such a treat to have the vocal prowess of three terribly talented females singing together in harmony. It definitely seemed as if they had hit on greatness. Now a year and a half later the group has solidified, employing both Aroara and Snowblink's male counterparts in music and life, (plus Charles Spearin and Dan Kerr (drums) for this show) and beginning to play a little more regularly. In the two sets this summer however it has felt as if the magic was stretched a little too thin over a full set and I found myself cherry picking certain songs over others. I have found Snowblink rather mundane live and the same rings true even with Feist singing backups. Speaking of, the Feist songs (Bad in Each Other, How Come You Never Go There) are enjoyable but there is a great deal of her catalog that could be put to better use given this firepower. The Aroara songs however spring to life, which may be my bias as I prefer them performed by Aroara too over the others. Maybe it just boils down to expectations because the Antony and the Johnsons cover also wasn't anything special however what they did after the set was. Hillside is usually quite punctual and therefore does not allow encores, yet somehow most of the people were already out of the tent when they came back out for a raucous, short rendition of Immigrant Song that was nothing like anything in the actual set (and I don't just mean great).

Tegan and Sara - Hillside Friday (July 25/14)

Tegan and Sara were headlining the main stage Friday night. I was excited to see them for the first time live, especially following the release of their recent album. Thing was I had seen them before and just didn't remember which doesn't bode well. I was expecting a polished show due to the last release but things were so squeaky there wasn't much room for anything interesting. Yes, they broke out their guitars and they sang some older songs and they chatted with the crowd to show their personality, but were still missing.. je ne sais quoi. Speaking of speaking, the flow was drastically interrupted as Sara meandered on and on about her camping experience, to the point where we thought surely it was a joke. Tegan even jumped in to try and get the derailment back on track but Sara persisted and in the end all she ended up doing was insulting the majority of attendees as her point, best as I could interpret, was that she no longer likes to camp. Later she coerced Tegan into reading the lyrics, kindly written out by a fan, of a song that she had written in high school that she was clearly embarrassed of and had no desire to sing. This also broke up the flow. Overall they sounded fine and they covered a good selection of songs both very new and very old but never really broke across.

Back in Your Head

The Con

Walking with a Ghost

Now I'm All Messed Up

Call It Off

How Come You Don't Want Me

My Love Opened The Door (Pete Townshend cover)

Closer (Finale)

Hillside - Ought (Sunday July 27/14)

Their sound lumps them in with the alt bands that were just before my time, that I never really did get into, which maybe why I was surprised that they weren't the age of Pavement. Actually they were much, much younger than that despite the maturity of the music. Their singer gave his sing talk delivery some odd flair through actions and miming without looking like he was putting too much effort into it - not effortlessly per se, but lacking exertion. They sounded much like their stellar recorded debut, which is a huge compliment, opening appropriately enough with Today More Than Any Other Day. There's a high ceiling on this band hence why Pop Montreal must be so excited to present them. The only unfortunate part of the set was that the techs told them they only had 3 minutes left after playing a new Blue Sky song and rather than begin and play beyond that, finishing their intended set list, they admitted 'we don't have any songs less than 5 minutes' putting a damper on the end of the set more than the on again off again rain of the afternoon.

Hillside - Hollerado (Sat. July 26/14)

They made reference to their previous Hillside set being their favourite and then went about trying to top it. Blasting into some hits it was half a song before the confetti cannons began to burst and a few more before the massive balloons filled with glow sticks began boppin' over the crowd. It was fun and everyone seemed to be into it. A cover or two was tossed in mid-set and the boys of Hollerado closed with perhaps not the strongest in my opinion of Do the Doot Da Doot Do which is why it was a blessing that they were brought back for a three minute encore. I'd forgotten the last time I'd seen them so it was exciting again when they burst into one of the finest three minute songs - Dammit and I joined the punks streaming to the frothing front to scream it all out.

Hillside - Pup (July 26/14)

Delayed for unforeseen reasons (porta potty line) I ditched my bag and launched into the rabid crowd right up against the stage. Pup, the powerful four piece who have a Guelph history but now call Toronto home were only launching into their second song but were well into riling up the crowd. Security, rarely needed at Hillside, was 6 strong across the stage front and were doing their best to keep the surging crowd from ending up sprawled on stage at the pint-sized signer's feet. Apparently they were asked to take a breather so the crowd could chill and he snarked 'breather?' and then launched into Lionheart. They did do one slightly more relaxed song, relatively speaking, before declaring an end to that and ripping a handful more, including standouts Yukon and the best in Reservoir. Nobody wanted it to end and even security got into their final tune, a cover (attributed by one member to the Cancer Bats) - Sabotage!

Aidan Knight - Hillside 2013 (Sat Aft)

Aidan Knight's Small Reveal is an absolute gem. I'd been talking this set up to anyone who would listen because I'm really jazzed about this artist, even if his onstage persona (or maybe it's just him?) is much more subdued than my enthusiasm. With a full Lake Tent (and threat of more rain) they began with their album opening doublet of songs which are an excellent one two punch when listened to but the crowd was a little distracted and talkative which set things back a little off the top. The material is really strong though and they persisted, slowly and surely making gains. It was a set without too much variation from those I've seen from this talented quintet in the recent past and people began to recognize. How can you not appreciate that violin anyhow? Coming into close, people finally stood up and began to get into it which was perfect timing because the final track was Knitting Something Nice for You and although it starts a little slower when it dynamically morphs partway through it really is a game changer and they brought it home strong.

Yukon Blonde - Hillside 2013 (Sat Night)

Yukon Blonde had a tougher task ahead of them being the band responsible for bringing it all home on notoriously the biggest evening and stage of the festival. The MC warned that Hillside would not be responsible for any melting of faces from the guitar solos about to occur, and although these went down, a shred fest does not necessarily a party make. Those in the recently revamped front of stage (no more picnic benches! Yeah!) didn't seem to mind and bounced and shook and surfed their way through the entire thing under the assortment of floating prophylactics. The set began well with favourites such as Radio and Six Dead Tigers but I felt it waned down the stretch. They did bring it home with another stronger tune, My Girl but it wasn't quite enough to send me bounding off into the night. The surprise downpour that came up just as the show let us out into the night (and the hour long bus lineup) definitely affected this feeling as well.

July Talk - Hillside 2013 (Sat Night)

Who saw it coming? The ordinarily bonkers Saturday night lineup in the island tent was to feature a band that was relatively unknown, albeit highly touted by those in the know. The place was packed anyhow and ready to go off - July Talk gave them the excuse to do just that. Lead by their mod rocker in his black leather jacket, it was his female counterpart who really stole the show. As he overtly hit on her and she coyly rebuffed all his advances they had a unique stage persona. Much of this presence was ad libbed, with limboing the mic stand, and balancing the gold pump on her head but they seemed to be having a time and the crowd was enjoying it even more. Besides the music being churned out by the five piece had a great beat and despite a general lack of familiarity everyone everywhere was shaking it anyhow. A true buzz generator!

Jim Guthrie - Hillside 2013 (Sat Eve)

There were a total of ten musicians on stage for Jim Guthrie's hometown set, the most notable of which (besides the namesake) was JJ Ipsen. Despite this array of people and instruments the sound was full but not overwhelmingly so. On some numbers there were band members who actually went unused. They wonderfully replicated the sound of Jim's most recent triumphant long player, Takes Time, which was the focus of the beginning of the set. Jim himself was wedged in the middle playing his guitar and providing the vocals for these tunes, including the smile-worthy The Rest Is Yet To Come ("I said, 'Don't you mean the best?'"). There weren't really many mind-altering things that occurred on this my first time seeing the apparently reclusive touring Jim Guthrie live show but it was undoubtedly faithful and enjoyable.

Fucked Up - Hillside 2013 (Sunday Aft)

It was an intense, riled up pit of Fucked Up fans kicking up dust on a Sunday afternoon in the Island Tent. With the sound up the band seemed to be in fine form as they blasted through their melodic, hard punk rock gems like The Other Shoe and Son the Father. It is their frontman, Damian Abraham, who really represents them and acts as the most visible member at least partly due to his unique appearance, nearly always sweaty and topless. Only a song or two passed until he fit that description, as he handed out high fives and dipped the mic into the crowd to let the fans scream along. This interaction definitely steps up the intimacy of the shows and it worked real well here as nostrils filled with floating dirt but few were seen exiting the scene. There was an inordinate amount of children in attendance - and I don't mean the teenagers moshing. Even the band had their kids backstage and later in the set Damian's son was used in a call and response as he was hoisted onto papa bear's shoulders. Nearing the end Damian became a man of the people by entering the fracas, coming face to face with me and after a tiny pause threw his meaty arm around my neck and began an epic group hug as people from all around piled in. Yes, a sweaty hug from a bare-chested man was my Hillside moment.

Whitehorse - Hillside 2013 (Sun Night)

Admittedly I have been a doubter of this duo from the get-go. Not that there's a problem with either of their solo projects but more that based on their Whitehorse albums solely I couldn't quite understand the attention being showered upon them. (I mean a sold out Massey Hall, really?) Then I witnessed the show and now I'm starting to get it..

Just a pair with a unique setup of an old-time shared mic up front and centre, with a pair of rerouted telephone receivers acting as mics behind that surrounded by an assortment of percussion instruments and litter of guitars rested nearby. They proceeded to make compelling, fleshed out songs from this array by running around and singing this piece here, looping that sound there, feeding back over here and then coming together as a dynamic duo in front of it all to bring it home. Opener Killing Time is Murder laid its hooks and they dug deeper with each passing track.

To add another family dimension to it all Luke Doucet paused to describe the little girl in her bathing suit who had run up from the beach to clamber over the stage and sing along some 8 years previous. Then proceeded to introduce this little lady as his now 17 year old daughter whose musical talents were obviously inherited from her father as she controlled the mic with ease on an excellent Tom Waits cover that all three coordinated on while Luke simply played the acoustic.

This couple's attractiveness runs much deeper than the skin, penetrating to their vocal cords and musical souls. I'd love to see what their home jam space looks like, or be around during for Christmas carols.

Usually special guests are not kept under wraps at Hillside for the mere fact that there are 3000 talkative volunteers milling about backstage with open ears. (Stuart McLean comes to mind.) However despite "..with special guests for the finale" being in the program there was much talk and few possibilities floated. (Win and Regine joining the already present Richard Reed Parry and Sarah Neufeld as an incarnation of The Arcade Fire wasn't really feasible as a finale to overshadow Whitehorse was it?) After their curtain call the couple were enticed back onto the stage and Luke took to the mic to introduce Ruth Moody, Brenda McMorrow, and Tony Dekker (GLS) plus the return of his daughter, Chloe. In recognition of the recently passed JJ Cale they performed his song, Crazy Mama, with Brenda on violin and all else acting as new backing vocals. Following this they tore it all down with I'm On Fire. A splendid Springsteen song, they really brought it home by bringing it down to crowd fueled finger snaps and sing-out as the band backed away slowly and disappeared, leaving us singing ourselves out into the night with another amazing Hillside wrapped up.

Diamond Rings - Hillside 2013 (Fri. Night)

To shield from the Friday night lights all members of Diamond Rings sported some snazzy shades; more on that later. Local musician Geordie Gordon, known for his band The Magic, played the synths and guitar while a couple other one-time Guelphites accompanied on drums, and keys/computer respectively. The focal point, John O'Regan, had the signature 'do, though no makeup anymore, and a spiky black leather vest. At least he started the set with all this but as the beats were dropped and the band heated up he also droped the glasses and then the vest. This allowed him to dance more freely on stage while his singing, and occasional guitar playing, was never inhibited. Free Dimensional is a danceable album so cuts from it were working their charm, while Special Affections tracks are plain great and also worked. Pockets of the crowd were really grooving but it wasn't totally widespread which was a disappointment. There've been many Bowie allusions floated in reference and although that's some hallowed ground there is some basis for it. As the set was rounding the corner to bring it down the home stretch an instantaneous power outage cut not only the sound but also all the lights in the tent leaving us completely and utterly in the dark. It took mere moments of confusion and shock before the cell phones and lighters lit the tent and under ten minutes until they had the gear back up and running. Thankfully time remained before quiet hours and John and the gang banged out two more tunes to the now especially appreciative audience and we grooved it out counting along to Day & Night to call it a night.

Hillside Saturday Day - ALX, Imaginary Cities + (July 28/12)

Birds of Chicago/Open Hearts Society workshop
Birds of Chicago were already back to warm more hearts. Technically a Chicago band they have Canadian roots that brought them to Hillside. First though were the Open Hearts Society and their female vocalist plus a new guy on electric guitar. The lady bird was flashy in her orange dress and large hair while her male counterpart played an acoustic. As a throwback to their roots in the 90's alternative band they pulled out a countrified version of.. no not their hit Two Princes but another gem in Little Miss Can't Be Wrong. Fun thing to do in a workshop and a fun thing to see for nostalgia sake.

Deep Dark Woods/Wooden Sky workshop
Forest in the Sky was not only made for the fantastic mash-up title but also because the two bands paired quite well. Both the Deep Dark Woods (forest) and The Wooden Sky (sky) were hairy creatures who combined on a Willie Nelson tune, complete with banjo and a country feel despite the keys. I'd skipped DDW the previous night in favour of the Arkells and considering I didn't really recognize or get that into any of the songs, I stand by my decision.

Arkells/Bright Light Social Hour workshop
Since Deep Dark Woods weren't quite doing it and the Arkells had the night before I went over to give them another try. Again Aaron Goldstein (who they introduced as a member of City and Colour as well as the Cowboy Junkies) joined them and again they did the Dylan with The Band cover "because it was so much fun last night!" The vocalists swapped from verse to verse which kept it fresh. All together they performed a Neil Young song and then I Need Your Love, another cover and why not? It is a workshop after all.

Hillside Sunday Afternoon - Badbadnotgood, Strumbellas+ (July 29/12)

Ah, the Strumbellas! What a shot in the arm they were to kickstart this Sunday afternoon. Entirely barefoot they stomped and yelped through a rollicking set of folk-tinged bangers. Off the top they were slightly subdued but a couple tracks in they hit their stride and the energy became infections and had the crowd swiftly on their feet. A Lake Stage sand storm ensued as we spun and clapped along and even welcomed the tilly-hatted, bespectacled, bearded lead into our midst. Once back onstage alongside his heavy-footed keyboardist they amped it up on The Sheriff and others. They even went so far as to bodycheck each other, sending the singer sprawling into a stack of gear from which he popped back by pushing off an acoustic guitar in the pile...*inhales sharply*... tough to watch. The band however was not at all difficult to take in; in fact it was a joyous experience, just as I'd hoped!

While enjoying an early afternoon dip in the lake the music of Alanna Gurr drifted out to the beach. I was surprised at the amount that I recognized and found it to be quite a nice swimming accompaniment.

Sure there'd been some hype but BADBADNOTGOOD still stole the show with their jazzy take on modern music. These young fellas are doing something that seems so utterly fresh and yet damn polished, it's thrilling to watch. People crowded around as the three confident, yet modest Humber students reimagined popular tracks into fresh-baked goodness. They dropped a number of recognizable riffs and beats into modern mashups that got the crowd (Rich Aucoin included) really into the set. Somehow the drummer played a couple of songs from behind a pig mask while the bass player and keyboardist didn't resort to such gimmicks but just laid it on like peanut butter, smooth and thick. Their take on Feist's Limit To Your Love was a solid way to introduce what they were going to do and once we 'got it' the deep bass lines of Kanye's Flashing Lights were an amazing way to have us all jump in unison. If ever there was an opportunity for a 4pm encore at Hillside this was it (with a stage break next) but sadly the stage manager was too intent on his break and nixed it in the bud. Shit, that was something though.

There's this weird thing with The Wooden Sky where I like the odd song that I hear by them and people around me love them but for whatever reason, whether it is recorded or live, they haven't burst through from 'like' to 'love' for me. This sunny afternoon saw them playing the main stage and I managed to catch the end of the set which again was good but didn't put me over the edge despite playing some good tunes in The Late King Henry and Oh My God. Maybe one day it'll click.

A nifty little workshop out back at the Sun Stage that started out with a cover from The Strumbellas followed up by the Chic Gamine chicks really lovely harmonies. Afie came up next in his wide-brimmed hat for an original featuring great additional violin from the Strumbellas as well as some back-up ooos from a couple ladies of his own (and prompted a couple more from the ladies in the crowd). They went around again and the singer from the Strumbellas sat on the stage's edge for an acoustic picking song. CG did the silence song which was a capella barring the drums.








Finally all of these wonderful artists combined forces on Bahamas' suggestion - and who is the uniting artist that everyone is always game to cover? Tom Petty, of course; You Don't Know How It Feels! This got the ball rolling straight into the oft-covered itself, Blue Moon of Kentucky, before closing out with the Canadian equivalent to Tom Petty in the go-to cover category - Neil Young and in this case, Harvest Moon. That's the spirit.

Ohbijou was rammed and their sets always make me a little sleepy, so to combat that I skipped watching and just listened to them as a backdrop while re-energizing with Feng's Dumplings.

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 Saturday Late- Rich Aucoin, Elliott Brood (July 28/12)

Elliott Brood

With Elliott Brood I have had some magnificent concert experiences, ahem Vancouver Olympics, small Club Vinyl Guelph, but most recently a sub par show at the Phoenix in Toronto. Prior to their set I'd allowed the most recent memory to cloud my judgement and had decided to branch out and skip their set. However as things at Hillside changed on the fly I was able to come over for the last few tracks and, boy, was I glad that I did. Their music is so upbeat and just asking for people to clap, bang and dance along that when that doesn't happen (looking at you Toronto) an entirely important aspect of the experience is notably missing. At Hillside one needn't worry about whether people will dance though so I found myself swept up in the Elliott Brood swirl that was already underway. Unfortunately I apparently missed the flash-mob that broke out earlier, and didn't have a pot or a pan to bash on but that all would have just been gravy. A good time, not a long time, as I managed to shimmy to a few favourites including Valley Town and a joyous rendition of Miss You Now. The latter finally went off after speedily troubleshooting and replacing a wonky amp right before the final song. Whatta time!

Zeus
The tradeoff in staying til the very end of Elliott Brood was a lack of sightlines from the back corner picnic bench of the Island Tent for Zeus. It's not so much their visual antics as their revved up throwback sound that their show is about anyhow. That meant only catching glimpses of them shredding Marching Through Your Head and The Renegade, while not ideal, wasn't the greatest loss either.

Rich Aucoin
What do you get when you insert Canada's premier party-starter in Rich Aucoin into the biggest party night of Canada's premier festival? You get all of the following, plus so many more intangibles that I'm sure to have forgotten (and probably couldn't even put into words anyhow).

To begin with, the word was out and the tent was utterly crammed with partygoers excitedly bouncing beach balls in anticipation while the tech crew hurriedly set up for the final set of the night. Finally it got underway and it appeared like a shoddily built tower of cards with a video projector on top but somehow we got through the entire intro video without too many blackouts. The video, as always, featured a number of chopped up youtube sensation videos as well uplifting and hilarious thank-yous and shout-outs, including one to yours truly the "official Hillside weatherman" (a nod to a tweet from earlier in the day). This was all done in full darkness, and finally after the extended setup and then the intro vid, when the lights came up and the music started all of that pent up energy exploded into a swaying, frothing sea of humans. What songs did he play? Who played which instrument? These are inconsequential details when the fact of the matter is that it was sheer excitement and fun throughout the altogether too short closing set. Rich himself did some crowd surfing, set off heaps of confetti bombs, climbed one of the tent poles and generally hyped up an already hyper audience. And yes, the signature parachute did make its appearance! Unfortunately it was far too small to physically contain everyone in attendance but it stretched just far enough for me to be on the edge of it, and the childlike joy that it brought permeated the whole tent. As the song goes "we can't leave It all in our heads" and we didn't, as we absolutely went off, leaving it all on the floor and marching off into the night with exuberance!

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.