CMW: Dine Alone Showcase (El Mocambo, Mar 23, '12)

Not in chronological order, or any order at all really.

The Sheepdogs were rumoured to be the secret guests and were the logical choice. Following hours of speculation their manager confirmed my suspicion while taking a piss upstairs, so it was pure elation when they took the stage. They rocked as they are apt to do. Learn & Burn, The One You Belong To amongst em. I'd taken off my amateur blogger cap by this point and put on my drunk music fan bib so details are sketchy but it was fun. What do you want me to say? I Don't Know!

If The Sheepdogs epitomize '70s rock I'm not sure what era Monster Truck represent but it is unabashed, straight-ahead, loud-as-they-can-get-it, rock and roll that they play. And it's pretty darn good too. Didn't realize just how loud the upstairs of the El Mo can get until I got run over by a Monster Truck (wuh waa).  

The Apache Relay were a band I was told I was going to like. From the opening a capella intro I was into it and as the band joined in it only improved. There was an energy on stage from both the music and the members that carried back and forth with the audience. The amped violin added a stellar touch too. Found a new group in these Nashville boys.

Upstairs of the El Mo (my first time ever up there) I found the bearded Spencer playing earnest acoustic guitar before his band of slide guitar, cello, violin, drum and electric guitar also came to life. Folk music riding the swell of those instruments, Grey Kingdom was a pleasant surprise. Spencer proved to be a very amusing fellow though his candid banter as well.

Also upstairs Hacienda played a set with the endorsement of one of the Black Keys members. It was a fine little enjoyable rock set though that's about all my notes have to say about these guys.

I purposely arrived early for The Great Bloomers to see what the five piece has been up to since I last saw them years ago. They played some indie rock without much flare so unfortunately they didn't stand out in the sea of CMW.

Same goes for Dinosaur Bones as Great Bloomers. I'd seen em at last year's CMW and like some of their recorded stuff but didn't set themselves apart with this middle-of-the-line set.

Unfortunately a band I was really looking forward to catching again, Parlovr, were right before the Sheepdogs but on the other level. Having already slipped in through the out door for the 'dogs I didn't want to chance being stuck away from the special guests and therefore missed them.

CMW: Michael Bernard Fitzgerald, Scenic Route to Alaska (Mar 21, '12)

It takes something to stand out in the singer-songwriter category, especially during something as hectic as CMW. Michael Bernard Fitzgerald seems to have some of whatever it is going on, though even after his Gladstone show on opening night it's hard to pin down. Fronting a five piece he primarily strummed his acoustic guitar while playing both upbeat numbers, as well as a couple he dubbed 'lovey dovey'. Old favourite Movie Life started on the right foot while the following love-dove had to compete with side conversations despite a call for quiet. To combat this he quickly reverted to a jumpier number featuring synchronized guitar strums with the drummer in the end. His two backing females features prominently as well, on vocals for Man Overboard and keys on others. As the set found its groove he slotted in another older tune in Maxine before the standout Brand New Spaces which easily improved on the already-stellar recorded version - not just for the 'Shorty Got Low' verses rapped at the end. Keeping the fun up we stomped and sang along to the oft-covered Boss' Dancin' in the Dark. In finale, now that he had the crowd, the band stepped aside and allowed him to pick and pour out the lyrics asking 'Can you hear me?'. MBF you're coming through just fine!


Scenic Route to Alaska drove (presumably the scenic route) from Edmonton to Toronto for their first Toronto show ever, taking part in CMW. The standard three-piece was instantly likable, playing the much-less-than-capacity room with spirit and charm. It must have been the slight twang of the electric six-string that conjured up Elliott Brood and Harlan Pepper references to mind, yet sounding quite different from both of these at the same time. The lead's confident vocals rang clear and were nicely accompanied by opener Alana Clark on one song as well. Some promise from these lads. They know how to have a good time too, dropping a Beatles cover in I've Just Seen a Face amid their toe-tapping tunes.

Rococode, Grounders (Horseshoe, Mar. 20, '12)

From the outset the four members of Rococode were here to display their wares with a staunch, building, instrumental crescendo immediately. From there they moved toward a pop sound that was firmly grounded in rock, while even in their noisiest moments they never descended into noise itself but maintained melody. The male and female vocal swapping, and occasional collaboration, provided a great balance. Laura Smith's voice shone, while her synths took off the cutting edge of Andrew Braun's guitar without necessarily starting a dance party. The rock was progressive, but not prog. In fact I hesitate to draw the comparison but had already thought it before a friend independently likened their poppier moments to Mother Mother. Being my first real exposure to them besides the couple 'singles' Empires and Weapon, both of which they played, I'd say their stage show was predominantly about the music, backed by an excellent drummer, and was truly enjoyable.


Grounders followed with an alright set of jaunty rock akin to Born Ruffians but instead of Luke Lalonde's impressive vocal range the singer employed a Boats-like vocal effect (though not as strong) that wasn't exactly enjoyable.

Van Halen with Diamond Dave, Kool & the Gang (ACC, March 17, 2012)

Without too much pomp or circumstance today's line up of Van Halen took to the stage led of course by the way-back-when original and inimitable singer Diamond Dave. His namesake obviously stemming from his fashion choices (or vice versa?) as he shone in a diamond studded jacket and matching diamond trimmed pants. These didn't stop him from sliding across his special dance floor or popping high kicks throughout the set, albeit not always making it look like the most natural of activities for this aging rocker. Forget the fashion and get on with the music!

They did 'hit the ground running' playing Unchained into Running' With the Devil right off the top to bring us all around early. These classic riffs stemming from Eddie's axe send waves of excitement, especially at arena rock decibel levels. They played a few deeper cuts through the night and even tossed in new single Tattoo that prompted Dave to stop twirling his mic stand and pull his pants down to reveal some unidentifiable tattoo on his hip/ass.

Breaking up the set were some classic covers, first Orbison's Pretty Woman was given the rock treatment then following a Caribbean-influenced drum solo from Mr. Van Halen, Alex, they did the Kinks' You Really Got Me. Eddie wasn't to be outdone by his brother and dropped a screeching solo on this tune with his signature-paint-job bearing guitar. Also in the current line up is Eddie's son, Wolfgang, doing a fine job keeping it in the family tending to bass duties and joining his father in great sounding backing vocals on many tunes like Beautiful Girls.

Despite all the well-documented drama from the band, Eddie and David Lee Roth seemed to be getting on just fine as they cracked smiles and shared laughs while performing Dance the Night Away. Alex reared his head for that recognizable Hot for Teacher drumming to which Dave pranced around the stage in a similarly studded Asian kimono cape of sorts before inexplicably taking five minutes alone on stage holding an acoustic guitar (only instrument he'd play all night) to show a video of his dogs rounding up livestock and then pandering for a cheer linking dog-lovers to VH. Huh?

The band thankfully returned after this to finish the set in style. At the end of an appreciated Panama Dave exited, leaving the fam jam that then cleared the way for Ed's solo. Hands-down the favorite part of the night and one of the best elements of any concert going, Eddie began working his wonders while seated on the steps on stage and proceeded to carry on for a whopping 8 minutes of mind-blowing guitar, working the whammy bar, picking up and down the neck, and twisting knob effects too. Astounding! The inclusion of the Eruption lick didn't go unnoticed either.

I didn't want the solo to end but it did anyway as the crew returned to scorch Ain't Talking 'Bout Love and say goodnight. Not even bothering to leave the stage they agreed to do one more, almost as obvious as Celebration (see below), and with a hundred kilos of confetti Jump certainly was a celebration.

Kool and the Gang

Everyone agrees it an odd marriage having Kool and the Gang opening for Van Halen. Besides perhaps a similar time of emergence they don't share much in common sonically. The support band did their best to win over the ACC crowd that were finding their seats during Ladies Night. A large contingency of them, including a brass section, brought us Get On Down. It wasn't exactly rocket science to figure they'd wrap with Celebration - the only question besides 'is that the original Kool?' was whether he and his Gang were recycling the choreographed dance moves that originally accompanied these songs in the days of funk and disco. 

Juno Concert Series with Arkells, Beauties, The Order of Good Cheer (Horseshoe Tavern, March 3)

If it was an Arkells show that you'd signed up for that wasn't at all what you got, however in many ways this was more special, and undeniably more unique. This evening at the Horseshoe was a chance to pay reverence to Canadian musicians of yesteryear, or even yestermonth - as tributes reigned supreme and surprise guests arrived in bundles.

Rock me gently, rock me slowly
Up first was the Toronto band The Order of Good Cheer, including an all-white donning Serena Ryder's husband. It was no surprise when she arrived on song two for some guest vocals and stuck around for much of this fully enjoyable set rooted firmly in rock and roll. Tom Darcy also grabbed a mic for a couple songs including Rock Me Gently. Contemporary covers from Jason Collett's mouth were Weakerthans Sun in an Empty Room and Metric's Gold Guns Girls. Kevin Drew of BSS fame played a non-eyewear related Corey Hart song. The highlight came as Billy Talent's main man, Ben Kowalaweicz, tore apart a song and band I'd never even heard before. Surfing on Heroine by the Forgotten Rebels was undeniably punk with a very tangible surfer feel. Excellent way to close the set off.

It may have been for a mere one song, solo, but any chance to witness Ron Sexsmith play is a fortunate chance.

This ain't nothing new to me - well it's just like going home
The six members of the Beauties went straight into Juno territory with Guess Who's Guns Guns Guns (Godspeed Mother Nature) before inviting renowned Toronto musician Ian Blurton out to rip some guitar strings, slag the audience and sing from beyond the beard Weeping Widow. Man of the moment Afie Jurvasen aka Bahamas, replaced Ian on the guest mic next and then gave way to local member of parliament, Andrew Cash. Cash's vocals were fine but the song choice was one I was unaware of and even with Maya Davis of Ladies of the Canyon also guesting, it was a bit of a yawn. The lull continued for me as members of the respected (but boring IMHO) Skydiggers came out. The set was rescued by one of the greatest Canadian songs ever written (my personal bias now bleeds apparent) Hasn't Hit Me Yet originally by Blue Rodeo of course, sung this time partially by NQ Arbuckle's Neville, but primarily by the Horseshoe sellout crowd. Kevin Drew returned for a song about the last night in the city that sounded right up his alley and apparently is one he's been performing with the Beauties for years anyway. Another Skydiggers song closed out the middle frame.

Can I Get a Witness??
Originally I'd thought the billing was as an Arkells set, and having missed their much adored last tour I was hoping for at least a partial set but it wasn't to be. What came in its place was nothing to be disappointed about however. From the top their enthusiasm for the night, for the songs they'd be singing and the artists they'd be sharing the stage with was infectious. A contemporary classic began in BSS' Cause = Time, given justice by Born Ruffian vocalist Luke Lalonde's vocals. From the same approximate era they dug into an Extraordinary Joel Plaskett tune crooned by Emm Gryner as well as Max Herman. By Divine Right were represented next before a slew of guests arrived on stage. Among them were Cuff the Duke's Wayne Petti, LOTC Maya Davis again (she made her presence felt much of the night) a touring member of City and Colour, and the violin flourish of the Great Lake Swimmers' female player. Why such a large contingency? Attempting to give the second Neil Young song of the night a proper sound requires it, and Harvest Moon succeeded because of it. Wayne stuck around for a marvelous Future Hangs from his main band. My personal highlight came in the form of OLP's 4am that featured Jeremy Taggart, as well as Dave Monks and Graham Wright from Tokyo Police Club. That compact disc, Clumsy, was the soundtrack to my generation's musical awakening, as evidenced by the ensuing singalong. Mr. Popular (Drew) returned to complete the trifecta alongside Maya for The Dears You and I Are a Gang of Losers. Probably the closest thing we'd get to an Arkells song was when they alone ripped out Young Offenders by the Cons from who they've obviously picked up the torch in many ways.

Cuz when the feeling's right...
This is all too much really. The display of talent - not only physically on display but also in the songs written by Juno contenders throughout the ages - was simply awesome. How do you wrap this up? Go with the insanely popular crowd pleasers. First get Gord Sinclair and Paul Langois on stage to perform early years Hip classic, Grace Too. Boy did that go off! Untoppable? Try bringing the house down by bringing the Beauties back out for none other than Bryan Adams' Run To You.

Canadian music was rightfully put on display this evening, and it shone bright.

Wilding (Annandale Hotel, Sydney Feb 5, 2012)

Pupils spread wide as I transitioned from the glowing Sydney summer afternoon to the dingy surroundings of the apparently rock-historic Annandale Hotel. A number of sticky steps brought me to the lightly attended floor for this showcase performance that I'd been eagerly anticipating since first hearing demos a good number of months ago. On stage Justin Stokes led his latest musical project, collectively known as Wilding, through a Sunday set of original music. This served as a preview to all the Sydneysiders, as well as myself, of the forthcoming March release of this Melbourne group's debut album.

The music had a definite pop feel, evoking influences from The Kinks and other English bands of that era, which is not surprising considering Justin originally hails from the motherland (evident through his sense of humour in between-song banter). Filling out the roster was a relaxed Robin (The Boat People) playing the keys, among other things such as the melodica, slide whistle and kazoo, Evan proficient with the electric guitar, Cate providing some nice offsetting female vocals in addition to flute, tambo and the like, Sven and Sven's wild faces to accompany his drumming, and Grant on bass patrol. Together they provided the afternoon's entertainment including Casual User which grabbed me as a very catchy number for my first listen, and the jangly Alopecia that translated very well live also. Thoroughly enjoyable was the chorus of backing vocals emanating from Cate, Robin and Evan that in a way reinforced Justin's lead and gave the songs an airy dimension, not to mention something to sing along with. However there is also a depth to the music and writing going beyond the surface pop feel, as evidenced on Lost Afternoons. This number saw the addition of Lee on violin which wasn't the only reason that this song really hit its mark. It felt fleshed out and full with the instrumental breakdown through which Sven was a delight to watch bash away. Closer, Monday Morning, had an interesting-in-a-good-way feel that I couldn't quite nail down, but had something to do with the one note Evan was bending each time through.

A promising set for this band that is finding solid footing in preparation for their album release. Based on this performance I'm quite excited to hear the recording in full and then catch another live performance with more familiarity with the material. Unfortunately the 20 hour flight could prove prohibitive, but that's just a detail to be worked out in this band's bright future.

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.