Owen Pallett - Lee's Palace (Jan 31/15)

Before the set began the mystery was "what is under the camouflage tarp?" but practically the instant a bearded Owen Pallett confidently appeared onstage the attention was focused on him and his violin, with little else necessary. Joking about it being his first time in the city (a former resident), how much he likes it and may have to come back he then launched into a solo rendition of That's When the Audience Died, a song from the album that launched his solo career. Remaining in the Final Fantasy era he then played a beautiful rendition of a personal favourite, This Lamb Sells Condos, before being joined by his band members, Robert Gordon and Matt Smith formerly a band including Owen, Les Mouches. With this fuller sound they very cohesively tackled the more sonically dense albums Heartland and last year's In Conflict, arguably Owen's best work to date. There was some especially enjoyable drumming but Owen easily remained the focal point, extracting audible elixir from his violin, the bow his wizard's wand. Later he took another turn sans band which included the moving I Am Not Afraid - an early standout from In Conflict (the only shame of the afternoon was not getting to hear others such as The Passions and the title track.)

When the pair returned to the stage it was for a powerful closing segment that seemed destined to be highlighted by Infernal Fantasy, an incredibly fast-paced song which showcased the strobing of the mirrored lightbox that was uncovered from its camouflage. And yet despite this driving, heart-pounding performance they continued it with The Riverbed and even after it died away in a joyous crashing climax The Great Elsewhere sealed the set. Oh boy, what an incredible performance with Owen laying it all out there.

Amazingly there was more than a little left in the tank as he reappeared on his own after only a short delay to open the encore with a cover of Tori Amos' Pretty Good Year - a song I was previously unfamiliar with but enjoyed nonetheless. Knowing how to close out it was all hands on deck for two excellent Heartland songs split by another perfect throwback in This is the Dream. There is a reason I say that Owen Pallett is my absolute favourite live, solo, Canadian artist. Hell, with performances like this I may be able to remove all of those qualifiers

Opener: Foxes in Fiction

(solo)
That's When the Audience Died (Has a Good Home)
This Lamb Sells Condos (He Poos Clouds)
(band)
Midnight Detectives (Heartland)
Keep the Dog Quiet (Heartland)/Mount Alpentine (Heartland)
Soldier's Rock (In Conflict)
Tryst With Mephistopheles (Heartland)
(solo)
E is For Estranged (Heartland)
I Am Not Afraid (In Conflict)
Song for Five and Six (In Conflict)
(band)
The Secret Seven (In Conflict)
Infernal Fantasy (In Conflict)
The Riverbed (In Conflict)
The Great Elsewhere (Heartland)

-Encore-
(solo)
Pretty Good Year (Tori Amos cover)
(band)
Scandal at the Parkade (Heartland)
This is the Dream of Win & Regine (Has a Good Home)
Lewis Takes Off His Shirt (Heartland)

Two Hours Traffic - Lee's - Farewell Show (Dec 12/13)

Two Hours Traffic

On the first of their last shows they sure seemed to be enjoying their curtain call. Plenty of thank you's for the years of support were accompanied by plenty of tracks, new and old. It was bittersweet to hear songs for the last time that I've become accustomed to seeing a couple times a year but it was also a fitting goodbye - a way to go out on their terms. As may have been hoped for Alec O'Hanley returned for a tune he had written, Sorry Than Safe, which oddly saw the new, new bass player (first show) exit while second guitar moved back to bass to reunite in the original lineup. To prove there was no residual animosity Alec and Liam Corcoran exchanged a big hug as he departed. It wasn't too long later that another guest, Brian Murphy, joined them for a mini set of their side cover band, playing some Nick Lowe and Steve Miller Band to change it up. Back in action they closed out strong despite Liam's faltering voice, with Territory, then a solo acoustic of Stolen Earrings to rest the throat before closing down with Jezebel. Nobody believed for a second they wouldn't play Backseat Sweetheart so they returned with Alec and that number before attempting to end once again, this time using Stuck for the Summer. Alas an extended will they or won't they encore call did have them return. It was unplanned so as they worked it out Liam played the oft requested but rarely heard Kiss Me acoustically (for the ladies) and they all came back together on one of Liam's personal favourite covers to finally wind down the night. It'll be sad to see them go but great to have them endure this long. Plus there's always the albums on repeat.

Grounders
Although Grounders had a few grin inducing moments during their between-song banter the set itself was uninspired. As before I was unimpressed with the singer's vocals, though I'm not convinced it was bad effects so much as just bad singing. They were a hometown band happy to be playing a gig on the large Lee's stage, though the crowd was still relatively sparse it did include loved ones and even a couple year-old offspring. The crack about Two Hours Traffic's impending retirement and indie rock heaven "complete with tour busses, Factor grants, and free beer" was rather amusing. 

Young Galaxy - Lee's (May 31/13)

A homecoming of sorts occurred last night at Lee's Palace as Young Galaxy played their first show of the Ultramarine tour on home turf. Although the internet says they hail from Montreal and formed in Vancouver, a few times last night Stephen remarked that Toronto was where they got their start and hence how great it was to be playing here. Dressed purely in white, excepting Catherine's blue trousers and suspenders, their persons served as projection screen for the interesting light projections that bathed the entire stage (although it did force an awkward squint from Catherine for much of the night). The first song offered a low-key, atmospheric introduction but as the set progressed they touched on their poppier moments. This was a nice return to the form I'd always imagined their live show taking, rather than the loud, rocking version I'd seen last time, a few years ago. The best moments were when the electro was turned up and the band jammed away, especially when filled out by the electronic drums that accompanied the true drum set. Shapeshifting was a breakthrough for the band in my opinion and the latest offering continues on this beautiful trajectory, so numbers from these were definite highlights. Pretty Boy, Fall For You and New Summer were (and are) all excellent new tracks, while Peripheral Visionaries and We Have Everything hit too, plus single and set closer, Youth is Wasted on the Young. Stephen claimed that they thought encores were a little cheesy but in this case they would do one - and they did, just one song, but almost a requirement in a great rendition of Cover Your Tracks. An excellent way to be welcomed home.

Booting up a beat the leading lady would sing overtop of it while pressing away at some keys or effects. Alongside her another girl had a similar set-up with less singing, and on the other side a dude strummed a guitar, but due to it being mixed so low he could almost have been miming. The electronic stuff was alright, though not breaking much new sound, but the lack of flair from the accompaniment led to a rather boring show from this band, Kashka. (I always feel like I'm saying Cash Cab.)

Jamie Lidell - Lee's Palace (Apr 8/13)

Jamie Lidell
With the stage set for a remarkable spectacle it seemed that the visually stimulating light show was going to be the thing to comment on, but in fact it was the man himself that provided the entertainment. Yes, there was a white backdrop and host of lights beaming all around, including a 21st century visualizer that created funky effects throughout the room, all of which just helped to illuminate the one-man show that is Jamie Lidell. Emerging in the darkness, in a trenchcoat of sorts, he waved and glad-handed those in the first row before climbing behind an angular, shiny, metallic booth that served to reflect the lights right back at us. It also served as the place where he made his music come true.

Opening with this year's eponymous opener, I'm Selfish, Jamie proved to be anything but, as he poured himself into this solo performance. His voice has an incredible range and after this much time in the game he sure knows how to pump the most out of it. Not only that but his musical intelligence is top-notch as displayed via sampling and remixing A Little Bit More. He alternated between creating the songs through looping and effects, and just letting the track play and coming out front to showcase that funky, soul voice, including a showcase of a song written with a couple Canadians, Chilly Gonzales and Mocky. Personal highlight of the night was the awesome and danceable What a Shame that hit on all levels, especially with the on-the-fly production. He jokingly referred to a Compass (2010) track (I Wanna Be Your Telephone) as a classic but also played some throwbacks to 2005's Multiply in When I Come Back Around and Multiply. He credited that last song with playing a huge part in his success, and it did stand out as the first encore song, as he held the mic out to people in the crowd to sing along - a very unfortunate exercise compared to his accomplished voice. The finale was a new tune in Big Love which at first felt like it might not be the best choice but by the end he had the whole crowd in the call and response shouting "Big Love" and deserved big love right back at him.


Ludwig Persik
Leather jacket, black skinny jeans, Cons. Without much fanfare Ludwig Persik began his set with the tap of a toe to start his prerecorded track (apparently recorded with Mr. Lidell at his Nashville studio) while in his mitts was an electric guitar. He fiddled about with this while singing and grooving along. There was little fanfare following the first track also, as there really wasn't a whole lot there to get excited about. His dweeb persona and ineffectual voice didn't totally help the cause. Actually one of the few things that did were the appearance of a slender lady who came to shimmy alongside Ludwig on stage. It was an awkward show of support, especially as the song soon ended and was followed by a 'sad song' during which she slipped away. As Lee's Palace filled in, the applause did increase in conjunction, and surprisingly it wasn't overly chatty throughout as Toronto can be, but there weren't a whole lot of lasting memories made either.

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.

Sheezer Post-Halloween (Lee's Palace, Nov 2/12)

Unlike the Dwayne Gretzky halloween show this post-Halloween concert didn't have much buy-in on the costume front. Hard to do anything after the fact. However the bands did get in the spirit as the four members of Sheezer decked themselves in Kiss make-up and costume, with Laura Barrett even rocking some mechanical wings. I'm not sure if it's a testament to Weezer, who the band obviously covers, or people's taste as they only cover the Blue and Pink.. albums, or Toronto fans loving their own - regardless of the reason it was amazing to see Lee's Palace damn-near capacity, having sold out of pre-sale tickets for the gig. Opening with Tired of Sex and then blasting through a fine number of tracks from these beloved early albums it was a joyous atmosphere with much singing along as the ladies themselves played the music pretty accurately. Three of the four of them swapped out Rivers' vocals as well, not that it mattered as there were passionate singalongs to most of the tunes anyhow - especially Buddy Holly, El Scorcho, and Undone (The Sweater Song). 

To commend those who did bother to dress up they were invited onstage to give the opening conversation of Undone and this quickly spiralled into a fan-stage party which was fun to see also. In the end they may have given away the hits a little early during the main set leaving a couple B-sides (Susanne included) and Only In Dreams for the end of the night but regardless of ending on slightly less than a high, it was a super fun night.

On a personal note Undone was the song that won me access to the gig as I wrote in to declare it as my favourite:
"Undone (the sweater song) because I discovered it WAY back when on some Spin magazine giveaway mix CD and loved how unique it felt, from the intro conversations through to the music as well as the semi silly, yet easy to envision lyrics. Still a Weezer classic and a fan favourite!" Thanks Exclaim!

Planet Creature opened in matching blonde wigs - though I'm not sure exactly who they were going for. It was pretty basic punk influenced rock that truthfully wasn't very good.

Rich Aucoin, Stepdad, Terror Pigeon Dance Revolt (Lee's Sept 20/12)

Terror Pigeon Dance Revolt

You could easily have been mistaken to think that Rich Aucoin had gone on early had you arrived at Lees Palace in time for Terror Pigeon Dance Revolt. In fact, Rich was in the crowd as the man in a floral dress and five-finger footwear lead a handful of enthusiastic Torontonians through his rendition of a party. Similar to Rich there was a live drummer to amplify prerecorded songs and then the singer shouting along in the crowd (and on the counters and from the stage and anywhere really). In addition there was a female vocalist who joined in at times. To get the party going they tracked a conga line throughout the bar which disintegrated into back massages. They all took a knee. There was a group hug. A bucket of lights were handed out to dance with which complimented the glowing, strobe light effigy that was built on stage. They hosted an impromptu dance off, pretty impressive, and in true Aucoin style busted out a purple parachute. The leader encouraged everyone to join in saying "this ain't no Rich Aucoin parachute" (but it kinda looked like it was). The music quality may not quite be that high for this Nashville band but they definitely know how to bring the party so perhaps in time, like their protege Rich, they'll match music to production.

Stepdad
Sonically Stepdad were superior to TPDR but that doesn't mean there's as much to write about. Five guys making quick, catchy fun pop rock that for some reason reminded me of the late 90s ska revival feeling - Zebrahead and the like. Firmly based on strong, fast drums they had bass, synths and an electronic pad (when not an electric guitar) that accompanied the singer. This man, featured on the majority of their merch, had size and a beard a la Damian from Fucked Up. However rather than the raspy vocals his were misrepresentatively smooth, and he even busted out a fine falsetto. People seemed to enjoy it though the audience participation was nowhere near either of the other two sets.

Rich Aucoin
Rich had his brother and another guy playing drums and guitar on stage but preferred to set his keyboard up right down on the floor of Lee's Palace. From here he had his classic slideshow intro - always original and interesting (plus a shout out to Hillside!) From here the antics began but with the amped up Toronto crowd the confetti, streamers and balloons became even more special. The lower floor of Lee's was rammed with sweaty, bouncing, singing and even people beyond its confines were dancing and jumping too. When the parachute was finally revealed near the end everyone wanted in on it and nearly all the glow sticks that had been handed out were tossed into it for a massive game of glow popcorn set to Rich's Double Rainbow remix. How do you top hundreds of people losing it under a parachute? Crowd surf and rip open the parachute that's been expectantly hanging over us all night to fill the room with balloons. Then everyone 'got our heads down' to 'Push til it's done'. Rich pushes it every night - we definitely matched him tonight!

Elwins, Dwayne Gretzky (Lee's Palace July 6/12)

The Elwins secured the opening slot for the evening. They played a pretty standard set of music from their initial LP And I Thank You. Tyler, primary Dwayne Gretzky singer, has been playing with them for the past few shows (though not at Zeus) and filled in fine starting on guitar and swapping to bass when Feurd was needed for keys and the like. They did their semi-famous Beyonce cover, Countdown,  and it was the first time I'd seen it live (not overly impressive - granted I've never heard the original and it was sans Luke Lalonde). Actually I've heard so much positive about The Elwins and their work ethic but this set didn't super impress. Maybe I was just disappointed and confused that they didn't do the Fox song and dance (see the Zeus link above).


Dwayne Gretzky did what they do best - playing amazing throwback cover tunes that are not necessarily spot-on but pretty darn close and fun regardless. Dan Griffin (ex?-)Arkell joined them for much of the set and Feurd, from the Elwins, was unmistakable on stage much of the time as well. In addition to their classic set list of Bruce Springsteen, Neil Young, The Beatles and Jackson 5 they also added some Queen (Under Pressure), Elton John (Bennie & the Jets) and a surprise, yet personal fave, Cardigans (Love Fool). Plus 80's blast Take on Me and Allie Hughes did a fine representation on Heart's Barracuda. Fun fun!

Wintersleep, Half Moon Run (Lee's June 12/12)

An English band from Montreal the only criticism I have was how haphazardly they were dressed considering they were supposed to be entertaining a crowd that likely wasn't familiar with them. Rolled up cargo sweat pants? Wife beater? Unkempt, shaggy hair? Besides their appearance I was altogether impressed with Half Moon Run's live show as it translated much better live for some reason than any of the recorded tracks I've heard. A three-piece with electric guitar, keys and electric, plus a drummer who also sometimes played keys simultaneously with this drums. Both singers had dual mics, one for reverb effects. They powered along and pulled out their mini hit Full Circle mid-way through the set, including a wicked introduction on the acoustic guitar. Clean yourselves up and I'll see ya at Hillside!

I've got some pretty good ideas of why Wintersleep's club gigs are as amazing as they are but the full effect escapes me. For starters how did such talented musicians all come together in the small city of Halifax? I have to figure that they began as mediocre musicians and in their decade-plus together have pushed each other to the levels that they are now at. Every member is a stellar musician and when they rock out in the middle of a song it can be transcendental. Having been together so long they are making some of the best music of their career as Hello Hum is one of their strongest releases in band's history and easily one of the best Canadian albums of this year. Not only is the album amazing but it translates live too - opener Hum also opened the set, followed in order by single In Came the Flood and no one in the just about sold out Lee's Palace was complaining about new material. That being said people sure did appreciate the inclusion of Archaeologist and Weighty Ghost (so good!) too. Really it is difficult to pick out highlights as the catalog their are culling from is great and the wizardy with which they bring it to life makes the entire thing a sight to be seen. I greedily count myself lucky that they have not blown up beyond club proportions yet as their club shows are such treats that I find myself beaming at multiple point throughout. The build and pay-off of Welcome to the Night Sky and main set closer Miasmal Smoke & the Yellow Bellied Freaks gives most any live song out there a run for its money. And when a band can come back from a stellar set and encore with the likes of Orca, a singalong to Dead Letter & the Infinite Yes and then close it all down with Jaws of Life, you know you've witnessed something special.

Other songs:
Resuscitate
Murderer
Smoke
Nothing is Anything (Without You)
Oblivion
Permanent Sigh
Laser Beams

Japandroids, Cadence Weapon (Lee's, June 23/12)

It does seem an interesting bill - one of Canada's most eclectic MC's (and former poet laureate) in Cadence Weapon, opening for the power duo, Japandroids. Brian (of Jpndrds) introduction of the rapper shone a light on this but also highlighted how this introduction shouldn't really be necessary in their homeland. And in reality it wasn't though I'm sure it didn't hurt. People were really into the small ball of rapping energy too as he tore through a bunch of new tracks from his Polaris long-listed recent release, Hope in Dirt City. It was impressive that he didn't miss a beat on songs new and old, including Real Estate, Oliver Square and House Music, while also throwing down some pretty funky dance moves too. The Born Gold DJ held down the beats in his USA t-shirt allowing Cadence to do his thing while the crowd was oddly receptive. Cadence wrapped up an impressively solid set (my first time seeing him) with Loft Party.

Japandroids album (also Polaris long-listed) is called Celebration Rock and much has been made of the title. I, for one, am with the masses in deeming it a worthy and appropriate name for their style of music pumped out by Dave's spectacular drumming and Brian's hugely amplified, and distorted, guitar licks. From song one the energy was there and it did not wane throughout, even with the inclusion of album closer, Continuous Thunder. I'd love to give a breakdown of the songs but I was too busy surviving the frenetic pit to take notes. A tonne of new material was played; in fact, it looks as if the entire new album made its way into the evening highlighted by single The House that Heaven Built and the deservedly-rehashed-for-this-album Younger Us. It's almost cliche to say how much output there is from "just" as two-piece but it needs to be reiterated as Brian really made the guitar soar - so much so that he broke a string and left Dave to drum solo while he swapped mid-song, sans guitar tech. The crowd responded as well to new music as old, though I was pleased to shout along to Post-Nothing "classics" (everything but Heart Sweats and I Quit Girls). In a respectable move they announced that they were going to give it their all with For the Love of Ivy (who knew it was a cover?) and not encore. True to their word they both gave it their all, with Brian perched atop Dave's kickdrum, and left us shouting for more even despite the exhaustion from rocking out for over an hour.

The Burning Hell (Lee's Palace, Apr 26 '12)

Lee's Palace seemed a little more like a cavern for this sparsely attended Thursday night gig. Mathias Kom asked us all to come forward so he could at least see who he was playing to and being the good Burning Hell sports that we are, we obliged. Besides a familiar bassist the backing band has changed significantly since the good ol' Guelph shows, not to say these guys were any slouches. Besides it is Kom's brainchild and he reaches well beyond mediocrity in all aspects. His songwriting is wonderfully literate and it was fun just to listen to the new girls beside me as they heard the jokes (as well as the outrightly heartbreaking lyrics, eg. Remote Control) for the first time. In fact the only new song was a duet with Berlin-based opening lady Freschard. A lovely, simple English song sung through her endearing French accent. Not to say the set was totally a rehash though either nor that she was the only guest. Actually during Flux Capacitor's Nostalgia Matthias called for any sax players in the building to make themselves welcome for this song, without any real expectations. Sure enough following the first verse the man to follow on the bill, Stanley Brinks, strolls out from backstage nonchalantly and joins in without missing a stride. Matthias is so caught off guard by how awesome this is that he momentarily forgets the words to verse two.

It wasn't the most prolific BH set by any stretch but it did make me smile, such as when Matthias introduced Let Things Slip Away by saying 'I was going to call this Losing My Religion but somebody told me that was already taken. By U2.' Who ever said hell couldn't be enjoyable?

Set

Remote Control
Let Things Slip Away
Nostalgia
Kings of the Animal KingdomDuet with Freschard "I liked you from the start"
Everybody Needs a Body (to be somebody)
Old World
The Second Cigarette

Hey Rosetta reap from their Seeds at Lee's (Feb. 23)

Photo Credit: Domenico Di Mondo. Thanks!

Hey Rosetta played the first of two, back-to-back sold out nights at Lee's Palace in support of their new release Seeds. Really they are a band to be seen live so after a week with the album it was about time to see what they could do with it. As it turns out they can do a heckuva lot!

They emerged through the darkness to album interlude Downstairs playing, which serves as a welcome to the song Welcome. How fitting. (Wait 'til you read what song they played last... it's as if they plan their music around the live show. Oh right, they probably do.) Well, on Welcome the septet were spot on and there's not much more to say than that the musicianship from this band is stellar. Highly regarded amongst them are the two lovely female violinists who looked almost heavenly as they were backlit during their solo in Yer Spring. An interesting change-up they went to an oldie in Another Pilot, tenderly plucking the first half before reverting to the crashing version Plan Your Escape fans know. Following There's an Arc was another new track that we were here to see, Yer Fall, with its fat bass line midway through, upon which they layer instrumentation and build to an epic crescendo. However it was the next song that totally hit the mark, with no fancy changes or solos, Young Glass was simply outstanding (and I do mean outstanding in its simplicity.)

The latter half of the set focused less on Seeds, and instead included renditions of I've Been Asleep for a Long, Long Time (amusingly going quiet for the note of the word "quiet"), We Made a Pact, and Swing the Cellar Door. Tim was absolutely entertaining during the latter as he roamed the stage in a very emotive fashion while cupping the mic with both hands, and the band playing an extended outro.

They did however include the title/opening track, Seeds, which is one of the songs from the new album that they've been playing the longest. And it only seems to get better with age - that mandolin intro, and the full-band-except-Tim-and-bass percussion, (this time including the clapping of two pieces of wood) - all before the dramatic, lights-out pause.... and then absolutely hammering home the closing!

How could you possible top that? By going to an old favourite? A sing-along? A jamming extended finale that Hey Rosetta is known for? A Red Heart!

The band left the stage absolutely beaming at the outpouring of love from the capacity crowd. We knew they'd be back but cheered as if it was only a remote possibility anyway.

A rendition of the Red Songs EP/Seeds acoustic closer, Bandages calmed us with its beauty and optimism (and xylophone). However it was short lived as we were only riled up again as Tim introduced the female lead from opening band, Gramercy Riffs, and she joined them onstage for a first-half-true-to-form, second-half-in-true-Hey-Rosetta-fashion cover of Cyndi Lauper's Time After Time. Pure fun!

That closing track I mentioned earlier, of course, was New Goodbye. Appropriate, for it was a send-off from a show that featured plenty of new material and really succeeding in bringing the slow-burning sophomore album to life. After taking it in live I feel that I can now more fully appreciate the album and relish the thought of listening to it through fresh ears, with vivid memories to accompany it. Yes, their concerts are that good!

Gramercy Riffs (Lee's Palace, Feb 23)

Gramercy Riffs were an east coast band but unlike Hey Rosetta, for whom they were playing support, these guys made the jump to Toronto to pursue the music scene. Fronted with a female and male vocalist, they fill out to your standard indie rock contingency with regards to instrumentation. (Need I point out that the lone female also plays keys?) What they do on those guitars is rock straight chords, besides the rare solo tossed in by the white haired guitarist. The music they play could be likened to Hooded Fang but noticeably less catchy or quirky. Truthfully I was bordering on boredom (though the drummer's singing along to all parts was entertaining) until the lady took the reigns and showed her vocal strength in building Dreaming to great heights.