The Kooks
Leading Luke was a ball of energy; engimatic and all over the stage he drew the crowd's attention off the top and held it throughout the night. Technically The Kooks were a five piece this eve (counting the maraca-shaker half-hidden behind the tower of synths) but even the bass, guitar and drummer took a backseat to their singer. His barely interpretable mumbles (English to English) between songs were met with cheers and a silly amount of Blackberry flashes. Thankfully he wasn't there to talk and he knew it - singing through a wide variety of Kooks tunes from all three full lengths. New music like Rosie, Runaway and Eskimo Kiss filled out the solid seventy minute main set, whereas How'd You Like That? and encore-inclusion Junk of the Heart earned a more permanent place on future set lists. She Moves in Her Own Way was quite welcome - proving the strength of their debut - and how many disappointed people would there be if they didn't include Seaside? This was a Luke-solo-acoustic number as 'the boys grab a beer' and he stood raised-up at the stage-edge for the singalong. He remained there as the band returned for an all-acoustic number (how does an acoustic bass work?) that had the drummer just banging one single drum center-stage. It worked as an enjoyable intermission to break up the set. In fact, the back and forth from electrified to acoustic was also appreciated as it kept things fresh. Act II standouts included Ooh La and closer Do You Wanna?
Following a fairly lengthy absence Luke returned and sat his shaggy head of curls at the piano for a lesser-known (cover?) number before the aforementioned Junk of the Heart. For the night's final song he was back to his old self, prancing across the stage and crooning out Naive.
Altogether it was a fun, and full set from the English boys. They've definitely matured since that infectious first album and as with anything it's better to grow than stagnate - as long as they keep appeasing the Seaside lovers.
The Postelles
The Postelles must have been hand-picked as a crowd-pleasing opening choice for this tour as they are essentially The Kooks Junior, USA. The four pals from NYC play upbeat, jaunty pop in the same vein and seem to have some fun doing it. The all-ages, nearly all-female crowd ate out of their hands, except when they asked whether we wanted a Ramones or Elvis song. ('Who?' or 'Okay, I guess') Hound Dog followed. Not sure based on this performance that they've got what it takes to be top tier but that White Night tune could definitely earn some air play.
Showing posts with label sound academy. Show all posts
Showing posts with label sound academy. Show all posts
Thursday, November 24, 2011
Sunday, October 30, 2011
Death From Above anticipation ends (Sound Academy, Oct 27, 2011)
Following that five-night stand at the Horseshoe that I completely missed sometime back around '05 the regret mounted and since the band's demise it has weighed heavily on me. The reunion was unexpectedly announced earlier this year and the anticipation of finally seeing Death From Above 1979 has grown steadily. It seemed that it took ages to even announce a Toronto date and then the calendar crawled until finally the beloved hardcore duo were set to play. I do not say beloved lightly either - as evidenced by the sell out of the massive Sound Academy cavern on two consecutive nights. I just couldn't wait and went to the first one show, along with people of every description - from rockers to punks to hipsters, young and old. Every last one of them was in for a treat.
Considering the limited gear required the sound check seemed awfully thorough while crammed in elbow to rib waiting for Jesse and Sebastien to join us, and take us on a trip. Jesse arrived with a joint and puffed it before picking up his weapon - the bass that in some unknown fashion he uses to produce that distinctive DFA noise. Sebastien however was the more engaging of the performers with his mismatched mustache and hair colour, and growling vocals from behind his sideways drum set, moved up to stage edge. From the get-go things were raucous and all those preshow elbows were forgotten as the pit erupted. Five years is a damn long time!
It's a big, huge sound they work out of those instruments of theirs and this loud show did it justice. Despite only the one full length they were not grasping for material as they pounded out track after track, often bridging with feedback and reverb. A full-on sound assault the crowd just ate it up, screaming along to songs we never thought we'd get to hear live ever again. It's difficult to pick out highlights from an hour of power but Pull Out has always been a strong live two minutes, as was a personal favourite in Blood On Our Hands. Black History Month was the only song that plodded along at a more standard pace (opting for a more classic version than moving toward any of the multiple remixes), but frankly it was a welcome breather. The crowd reacted strongly to Romantic Rights and the band played it up while Jesse left his perch to stalk the stage and repeat the refrain. Hard to explain just how or why it was so great, but it was.
Banter was kept to a minimal - attempts at connecting with the hometown crowd by talking about the shitty location of the Docks, and how they had Conan introduce them as from East York (as opposed to Toronto, or Mississauga). There was a point of levity after a particularly incendiary track at the hands of Sebastien where a group started chanting "Bass solo" to which he responded good-naturedly, "Is this a set-up? I've been waiting ten years for this! Every song is a bass solo, what am I competing with?!" Later in the night he screamed lyrics into his bass with great effect.
After some time in the dark shouting our appreciation the duo returned for a three-song encore. It was a stellar show that was a long time in the making and I can only hope that I'll have a chance to see them do it again. Is new material too much to hope for? For the love of anything dear, please. Please.
*
Rather unremarkable openers Dopes were bordering on awful, despite one of their recorded songs being listenable. Bishop Morocco were decidedly better, except maybe when they let that one guy sing, but still not much worth noting.
Considering the limited gear required the sound check seemed awfully thorough while crammed in elbow to rib waiting for Jesse and Sebastien to join us, and take us on a trip. Jesse arrived with a joint and puffed it before picking up his weapon - the bass that in some unknown fashion he uses to produce that distinctive DFA noise. Sebastien however was the more engaging of the performers with his mismatched mustache and hair colour, and growling vocals from behind his sideways drum set, moved up to stage edge. From the get-go things were raucous and all those preshow elbows were forgotten as the pit erupted. Five years is a damn long time!
It's a big, huge sound they work out of those instruments of theirs and this loud show did it justice. Despite only the one full length they were not grasping for material as they pounded out track after track, often bridging with feedback and reverb. A full-on sound assault the crowd just ate it up, screaming along to songs we never thought we'd get to hear live ever again. It's difficult to pick out highlights from an hour of power but Pull Out has always been a strong live two minutes, as was a personal favourite in Blood On Our Hands. Black History Month was the only song that plodded along at a more standard pace (opting for a more classic version than moving toward any of the multiple remixes), but frankly it was a welcome breather. The crowd reacted strongly to Romantic Rights and the band played it up while Jesse left his perch to stalk the stage and repeat the refrain. Hard to explain just how or why it was so great, but it was.
Banter was kept to a minimal - attempts at connecting with the hometown crowd by talking about the shitty location of the Docks, and how they had Conan introduce them as from East York (as opposed to Toronto, or Mississauga). There was a point of levity after a particularly incendiary track at the hands of Sebastien where a group started chanting "Bass solo" to which he responded good-naturedly, "Is this a set-up? I've been waiting ten years for this! Every song is a bass solo, what am I competing with?!" Later in the night he screamed lyrics into his bass with great effect.
After some time in the dark shouting our appreciation the duo returned for a three-song encore. It was a stellar show that was a long time in the making and I can only hope that I'll have a chance to see them do it again. Is new material too much to hope for? For the love of anything dear, please. Please.
*
Rather unremarkable openers Dopes were bordering on awful, despite one of their recorded songs being listenable. Bishop Morocco were decidedly better, except maybe when they let that one guy sing, but still not much worth noting.
Monday, June 13, 2011
CSS, Princeton (Sound Academy, May 17, 2011)
Like many of the fans down at the Docks on this weeknight I was here for the pumping jams of Sleigh Bells. However that set lacked the crowd participation that the small but rabid contingency of CSS fans brought to their night-closing set. The girls (and their male bandmates) played high-energy and it reverberated right back at them as people grooved along. For me it was the obvious Music is My Hot Sex, from their debut album where their lack of grasp of the English language was most endearing, that got me going. I also appreciated the shout out to Jesse and Sebastien before launching into Let's Make Love and Listen Death From Above. But by the encore I didn't even need the recognizability to enjoy the show as there was such a super energy rippling out of the small crowd.
Princeton were an alright indie rock band with some decent reverb and secondary vocals, but not a while lot to set them apart.
Princeton were an alright indie rock band with some decent reverb and secondary vocals, but not a while lot to set them apart.
Wednesday, May 18, 2011
Sleigh Bells (Sound Academy, May 17, 2011)
Sleigh Bells rocked out in front of a massive bank of speakers, to augment the already blaring house gear. Additionally interspersed amongst this equipment were strobelights of all colours and frequencies, all at uber bright intensity. Speaking of intensity, the lead lady brought it and threw it all over the Sound Academy. Seriously the Tuesday night crown could scarcely keep up with her and were even called out a few times for it. A solid representation of Treats was displayed following a heavy metal-into-Sabbath's Iron Man lead in. Atop the preprogrammed pounding beats and samples, the lone guitar ripped the place apart. The preprogrammed aspect meant not much unexpected could happen, which reduces excitement, but her vocals were impressive in that she could not only keep up, while running and dancing all over the stage, but she could shriek too. Sleigh Bells at high volume is good anytime - with the band playing for you is even better.
Co-headlining with CSS.
Co-headlining with CSS.
Tuesday, April 19, 2011
TV on the Radio on the stage (Sound Academy, April 18)
TV on the Radio are known for their off kilter and unconventional approach to indie music. Somehow following five excellent albums I'd yet to take in a live performance. That all changed Monday night at the Sound Academy as I witnessed first hand what these guys can do. From the get-go it was apparent that this would be a strong and loud display of their musicianship. Each of the six on-stage members seemed to be jangling something off the top, whether it be bells, tambourine or wind chimes hanging off guitar heads (and being played off the drum set's cymbals). This was for opener Young Liars which proved that the fresh-on-tour band were in a pleasant mood. Next up was the Wrong Way from the album that first caught my attention, Desperate Youth, Bloodthirsty Babes.
I'd never really thought of TVOTR as a loud band but they were coming across as such this evening with amped up guitars and the squelch of that signature trombone throughout. It was an earnest performance, especially on new tracks like Will Do. When Kyp Malone took over for Red Dress it was a welcome change of pace and he didn't disappoint, even pulling off a superb guitar solo despite a busted hanging string.
The set list may not have been exactly what I wanted to hear but that's probably my own fault for taking so long to get out and see them (the Dear Science tour must have been fabulous). Alas the final three songs of the night were blissful. This trifecta began with an absolutely thrilling version of Staring at the Sun that was sped up and had the sunshine of the strobe lights blinding us. The performance by the lead singer Tunde Adibimpe on Repetition was commendable and it was impressive that he had the energy left for set closer, Wolf Like Me. There's a basketball saying about leaving it all on the floor, and he did just that. In fact he had to be literally carried off stage by two bandmates at the end of the set.
Despite this, the band dug deep for a much cheered for encore of a further three songs, once the singer's glasses - lost in the closing melee - were recovered from the stage. A Method saw the guitars completely abandoned for heaps of percussion and some keys - a stand out that demanded audience participation. Bright Lights took it down a notch but built it right back up again.
And although I'd been looking forward to putting on my Dancing Choose and doing the No Future Shock I still can't say I'm at all disappointed with the alternatives.
Lissy Trullie
Openers Lissy Trullie were a female fronted, four piece indie rock band reminiscent of those you'd hear in the 90s. Her voice was strong but not particularly pleasant and the songs themselves were dull and somewhat repetitive. It wasn't horrible but definitely didn't leave me yearning to hear any more.
I'd never really thought of TVOTR as a loud band but they were coming across as such this evening with amped up guitars and the squelch of that signature trombone throughout. It was an earnest performance, especially on new tracks like Will Do. When Kyp Malone took over for Red Dress it was a welcome change of pace and he didn't disappoint, even pulling off a superb guitar solo despite a busted hanging string.
The set list may not have been exactly what I wanted to hear but that's probably my own fault for taking so long to get out and see them (the Dear Science tour must have been fabulous). Alas the final three songs of the night were blissful. This trifecta began with an absolutely thrilling version of Staring at the Sun that was sped up and had the sunshine of the strobe lights blinding us. The performance by the lead singer Tunde Adibimpe on Repetition was commendable and it was impressive that he had the energy left for set closer, Wolf Like Me. There's a basketball saying about leaving it all on the floor, and he did just that. In fact he had to be literally carried off stage by two bandmates at the end of the set.
Despite this, the band dug deep for a much cheered for encore of a further three songs, once the singer's glasses - lost in the closing melee - were recovered from the stage. A Method saw the guitars completely abandoned for heaps of percussion and some keys - a stand out that demanded audience participation. Bright Lights took it down a notch but built it right back up again.
And although I'd been looking forward to putting on my Dancing Choose and doing the No Future Shock I still can't say I'm at all disappointed with the alternatives.
Lissy Trullie
Openers Lissy Trullie were a female fronted, four piece indie rock band reminiscent of those you'd hear in the 90s. Her voice was strong but not particularly pleasant and the songs themselves were dull and somewhat repetitive. It wasn't horrible but definitely didn't leave me yearning to hear any more.
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