Long Winter - Great Hall (March 13/15)

Friendly Rich was peddling his decidedly child-unfriendly (despite running a charity music school for children) show complete with squeezebox and schtick galore. Musically it wasn't to my taste but as a spectacle it was fairly entertaining.

With zero idea of who was in stage in the conversation room I entered and for the first part of the song thought, "this three piece band are rocking quite melodically, kinda like The Constantines." And then the latter half of the song came in and the chorus spiked in intensity, especially from the impressive bassist dressed like a serviceman. He shared vocals with the guitarist who looked more like you'd picture a hard indie rock guitarist dressing, all time checked by their drummer under a Nets cap. It was definitely head nodding groovy even when each song seemed to build to strong shouted peak. Several Futures, one of the several musical discoveries that has nearly become the norm at Long Winter.

Pins and Needles had the Girls Rock Camp stamp of approval and deserve it. All girl four-piece that seem to be in high school - that theory backed by the majority of the kids rocking up front - they were impressive and not just for their years. The drummer was having fun and showing flair as she stood up at a number of points to really bang at her set. The bassist had an underrated voice, the keytarist (yes!) came in strong with hers, but the sparkling guitarist's was stunning. Altogether they played well written songs that seemed to have roots which was really impressive. Even their throwback cover (that escapes me) worked and the only criticism is that the encore was unnecessary but considering how much they've picked up already they'll get that sorted out soon. Real record release coming this year!

Vag Halen were the spectacle they've become. Stalking the stage in panties, pantyhose and cutoff tops the singers gave it their all and the crowd gave it back and more. The AC/DC cover actually had a massive mosh pit which was present throughout the set. Whether screaming, writhing on the stage or railing against Harper's terrible parliamentary bills they were making a scene.

Moon King, Lee Paradise, Blunt Chunks - Smiling Buddha (April 14/15)

Moon King
Granted I'd only very recently found Moon King and hadn't listened to much recorded material the live show hit harder than I was expecting. With just the four of them they made a roar. Even with Daniel's yelping lilt his three bandmates were enough to turn up the volume. On the couple mid-set tracks where he threw his shakers into the corner and picked up an electric guitar it rose even further. He was becomingly grateful for the support "look how many of you there are, and I don't recognize any of you! I live just down the street." On a few tracks his female counterpart took control of the mic and did a fine job of it as well. Set closer Roswell was rockin' if repetitive but they've definitely got a good thing going and should have success on this longer tour they are about to embark on. Though during the encore tune Daniel did promise to return to us soon and judging by the bulging Smiling Buddha it appears there's an appetite for Moon King.

Lee Paradise

Sludgy bass drums and synths plus fang singer with paint face. Punky. Pissing in the sink, to open.
The guys from Hooded Fang/Phedre are constantly genre dabbling. This incarnation saw the singer with vertical stripes messily painted up his face under his Kim Jong Un haircut. He primarily yelped into the mic in front of a sludgy bass and woman playing synths. Alongside their pounding drummer they created a rocking sound that bordered on punk, especially with lyrics like the opener "pissing in the sink." I still prefer Hooded Fang's first EP and LP (but I could say that about just about everything they've since touched, except perhaps In Decay.)

Blunt Chunks

Smiling Buddha was not smiling on her as the full house was chatty well in advance of Moon King. However fiddling about for minutes before launching into your last song wasn't the best move either. The lyrics were a little low (or the conversation was just that high) but her voice seemed alright. This was definitely not a legitimate showing to judge by.

Chilly Gonzales - Koerner Hall (April 21/15)

Settling in on his piano bench Chilly must have already been comfortable, not simply because he was dressed in his now traditional bathrobe and slippers but because he was about to play a homecoming. Although a European resident for many years now and a consummate performer regardless of locale I'm sure, there still seemed to be something special in the air here in the Great North. Without a word he focused on his piano for a prolonged moment before bringing his hands from his lap to the keys. From there he impressed with a few solo piano songs (not necessarily from the compilations with the same title) before finally bringing out the Kaiser Quartet. To applause they took their positions, violin 1 and 2, viola and cello, and then continued to just hold these positions while Chilly played an entire song until coming in for literally the last note - an A minor. "My Crazy Horse" he would introduce them as - Gonzo's playful side beginning to show. A performer through and through, he had a flair during his playing as well as a number of other tricks. As banter he often acted as a teacher, explaining some musical elements with audible examples (we did hear The Eagles, however briefly, not wanting that to be the one takeaway) and history likened to contemporary pop culture (Wagner is Kanye but also Tupac). Yes the quartet (plus drummer) were sometimes used as props but he also obviously had high respect for the group who played excellently and took everything in good humour. Before his first rap he broke out the bongos and played a sample of Beethoven's 5th (or LVB as he preferred to refer to him) but carried on with the bongos for his own tune. Although he did also rap Supervillain Music, Self Portrait (a great Nick Cage quip) and a couple others these were less prominent than straight instrumental. Personal favourite The Grudge was introduced by saying it had been converted from a piano track to a "banger" by Boys Noize and then he had to convert it back. The change was noticeable in a slower version but also of note, despite the semi-frequent curses that littered the songs it was "sick f&%!" that was changed to "schmuck" and the first half of "put it in your mouth/so you won't see it coming" was dropped altogether (plus he added "supposedly" before "hit him in the stomach" when talking about what led to Houdini's death.) A few others from Ivory Tower made the set, as did a song that he showed was in the attached school's grade 9 piano book before dramatically throwing it away with a dismissive "I don't need this - I wrote it!" At the end of the set, after a hum-along, a nearly instantaneous standing ovation was put up which was warranted, for despite being mostly instrumental (not my fave) it was highly engaging and a thoroughly unique show. Upon his encore return with the crew he claimed to be a "musical genius" and then stood upon the keys of his piano (cringe!) to rap (Not a) Musical Genius. The second encore didn't seem that unheard of considering to that point Never Stop hadn't been heard (instrumental). However the third and final outing just saw Chilly and the cellist for a song announced to a groan as Cello Gonzales, from recent Chamber Music. Even after that many reappearances, all of which spurred by standing applause, I would have been content to settle back in for another set. Not that I wasn't satisfied but more that I was thoroughly enjoying the mix of music, classical elements melded with contemporary pop, plus learning a few things and the comedy of it all from Chilly's unique flair. A non-traditional concert but an excellent one of a kind.

Drive By Truckers - First Avenue, Minneapolis (May 1/2015)

Without opener the screen raised and The Truckers took their places on stage without need for a tardy slip at 9pm. There was excitement from the mostly approaching-middle-age crowd and the band echoed that excitment back all night, repeatedly mentioning how much they love the room and that it was one of their favourite places to play ("in the world" even). An acoustic set, the two songwriters sat up front  and swapped lead on songs essentially all night with Jay Gonzales on keys and pedal steel, plus their drummer and reliable bass player tucked in just behind them. Not only did they treat us to their very vivid and literal tunes but also introduced many with colourful back stories of either the characters in the songs or the songwriting itself. This brought an intimate aspect to the show even if the volume was still up for the acoustic show. I haven't seen their electric set but can imagine that it comes on strong! Admittedly I'm not nearly as in touch with their catalogue as the man next to me who mouthed the entire set as I hardly recognised anything. Therefore it wasn't until partway through the first set when they did play a track from the latest release (that I studied in preparation for this show, to little end), Pauline Hawkins, that I could get an idea of whether they were vastly modifying the songs. There were definitely differences but it was enjoyable to hear the new takes. As mentioned there were two sets because this show would go all night. Nearing the close of set one they rocked out Elton's Benny and the Jets to everyone's enjoyment. The Dirty South is the album I know thoroughly and it was after returning from a barely quarter-hour break that I finally got a taste of it and then it was two back to back. The Sands of Iwo Jima had a mid-song story accompaniment about the actual man who gave the quote which was touching and lovely. A rousing response allowed the singer a moment to wipe the tears from his cheeks. Foregoing the song-and-dance of leaving the stage and returning for an encore they just told us that it was time to close it down and focused on the song aspect. It was midnight - curfew - when they finally brought it all to a close, this time with a cover of Ooh La La ("wish that I knew what I know now"). It wasn't the covers though but their originals that are so original and that revealed through the stories they shared that made it a lovely and special evening.

The Dodos, Springtime Cannibal - Horseshoe (Mar 3/2015)

The Dodos
This time out The Dodos were stripped back down to the original duo but that didn't limit the amount of notes they played. The songs blister as the drummer raps the edge of his drums or overhand crashes his cymbals while the guitarist plucks and strums his guitar, acoustic or electric alike, utilizing both approaches in such short succession that it's hard to keep up. With minimal looping and backing tracks it's amazing how dynamic they can be but it all seems to stem from the quick and snappy play. By the second tune they were already winning over the strong Tuesday night 'Shoe crowd and that was before they dropped Red and Purple next. Actually despite being on tour for yet another solid album, Individ, they reached back to a good number of deeper cuts and seemed to still be having fun doing it. During a few of the songs the drummer could be seen gleefully singing along out of the mic even to the parts reserved for his partner who was swapping between straight and reverb mic. It was warm in there and they worked up a lather entertaining us before a short break. All the "bros" in the joint cheered them back and then drowned each other out when the duo asked for a request and stood for a laughingly long time attempting to choose what to play. They finally decided on an older track before the preordained closer that saw the return of the opening band lead singer who strummed her electric and sang backup on Don't Try and Hide It. Good show!

Springtime Cannibal were poppy enough of a four-piece with a BBC-Office Dwight on drums, groovy bassist, smiling female key player and perky lead blonde singer. She would have been impressive at a jam session with her voice but altogether it was relatively bland pop, not super hooky. It could have been that her first banter came across as a little stuck up such that I spent the rest of the set trying to get over what seemed saccharine and almost smarmy.

Elwins - Hoxton (Mar 8/15)

The Elwins are a keen, likeable Toronto-via-Keswick band that try to befriend everyone and have grown a large community of friends and followers. Doesn't hurt to give out cookies at your shows either. But bribery and effort can't make up for the unknown element that takes live music from enjoyable to blissful. Their tracks, whether from their debut or this record release, are poppy enough and they seem to be enjoying themselves onstage and yet I have never been able to get truly excited before, during or after a show. Breaking out old single Stuck in the Middle second in the set seemed like a good move to set a good mood but it just didn't carry all the way through. The highlight for me was when the bassist grabbed a guitar and took over leading vocals. Another touch of fun was (High Like a) Bubble during which the cookie lady went through the crowd with a bubble gun. Following a brief departure they returned for a two-song encore that closed with their Beyonce Countdown cover though unfortunately Luke Lalonde, who they have recorded this with previously, was absent. There was nothing inherently wrong with the show but perhaps it just isn't for me.

Lowell - AGO First Thursday (Mar 5/15)

The drummer was in place, the guitarist tweaking the laptop in anticipation of the arrival of the lady of the hour.. Lowell snaked through the crowd with white lights draped along her silhouette on her way to appearing on stage with a smile, a semi-transparent white sweater and some horrid pink-eye boxer shorts. Banter was kept to a minimum making for longish breaks between songs and the little interaction that did happen was awkward and forced. (And I like Lowell.) The opener about The Shit We Do For Love was new as was the next tune; both seem to have taken the gloss off for a slightly edgier sound than the majority of We Loved Her Dearly, with beats bordering on bangers. These new songs worked and she sang them earnestly which couldn't quite be said of the core of the set. Something to do with the spaced-out, all-things-are-magical persona detracted from the presentation of 'hits' - The Bells, Money - especially her careless voice cracking. Even on Palm Trees and Cloud 69 I was thrown, though it may have been the underaged kids who had snuck in front of us (therefore directly in front of Lowell) and appeared to be taking advantage of the alcoholic experience. Funnily enough on the finale, written this week, she appeared more sincere than the previously well-worn tunes and though it wasn't the poppiest number it translated well. I implore Lowell to stick with the skills that brought her this far and lessen the cultivation of this image.