After a sub-par show in the Spring, “The O.C.” indie music stars Death Cab for Cutie returned to Toronto for back-to-back shows Oct 30/31. The boys from Seattle put on a show that had all the bells and whistles you’d expect from a rock show – an artsy stage set, solo acoustic performances, an instrumental rock out interlude, and an encore ending #1 hit “Transatlantacism”. But the show missed that last ‘umph’ to shift it from good to great.
Learning from their mistakes, DCFC switched from the deplorable acoustics and poorly managed (remember the false fire alarm they couldn’t turn off?) Ricoh Centre to the intimate and classy Massy Hall. It was a great choice for a band with a slower, emotive sound. The sound quality was crisp and well mixed throughout.
Three-piece punk-rock band Ted Leo and the Pharmacists welcomed the indie scenesters and sweet-16 high schoolers as they entered the venue. There were a few, yet highly spirited pockets of Ted Leo fans rocking out throughout his entire set. Having never come across the band before I was blown away by their raw and commanding stage presence, well crafted politically -charged lyrics and melodies that you want to learn right away to sing along.
The DCFC set started on the wrong foot. With girls yelling “OMG they’re playing MY song” and an uninvolved sit-down audience, I began to wonder if Ted Leo would be the highlight of the night. Luckily lead singer and songwriter Ben Gibbard barked at the crowd to “get off your butts off those seats and get into it!” Unfortunately, a standing crowd was as lifeless as if they were sitting. The Toronto indie scene is well known for its comatose demeanor; it doesn’t help when it’s a slow, melodic alt-pop sound that most fans use to a) make out with b) try and get someone in the mood to make out with them.
What saddened me was their attempt be a harder rock band than the (new) fans would accept. DCFC has been around for over a decade, but most only know them since the release of Transatlanticism in 2005. During “We Looked Like Giants”, Gibbard jumped on a snare/bass drum/hi-hat/ride cymbal on the front of the stage and busted into an instrumental rock-out with drummer Jason McGerr. It wasn’t complicated, but effective in constructing a wall of drum sound – of which barely affected the crowd (perhaps a miniscule head nodding at best). I had the feeling the crowd appreciated what they were trying to accomplish, but were really waiting to hear the hits.
And when the hits like “Summer Skin” and “Crooked Teeth” played, the crowd finally picked up – But highlights of the night mostly centered around their ballads. The emotion of “What Sarah Said”, “I’ll Follow You Into the Dark” (see below), and “Different Names for the Same Thing” were performed beautifully and well received. The band ended with a bang with lots of energy and excitement, and closing with their breakout hit “Transatlanticism”.
Overall it was a show that was well done… but not a spectacular one. I was honestly more impressed with Ted Leo’s raw performance. Perhaps it was a case of the opener overshadowing the final act. Perhaps it was the comatose fans. Perhaps the Halloween show that the Gibbard announced would involve “suprises” and “costumes” would give them the extra umph they lacked tonight.
Submitted by: Robb Eng
The Rapture
The Guvernment - 10.27.06
Rating: 9/10
Disco-punk, dance rock, disco-rock; whatever you want to call it seems to be a short-lived, dying genre in today’s rock scene.The birth of this stripped down garage disco rock saw the rise and fall of bands like Radio 4, LCD Soundsystem, and the Moving Units.Somewhere in the middle, The Rapture rose to the top with their bare-bones version of punky disco that got even the most pretentious of the indie-hipsters shaking their Asses.While supporting their second full-length release “Pieces of the People We Love”, Friday night marked their triumphant return to Toronto where they played an early show at the Guvernment Nightclub.Unfortunately the night began with the absence of supporting electro-pop act The Presets.Due to ‘unforeseen circumstances’, the duo did not show up, putting extra pressure on The Rapture to step up their game and get the crowd moving.
At 7:45pm, our boys hit the stage to the tune of Curtis Mayfield’s “Move On Up” blaring over the house speakers and the massive applause from the anticipating and surprisingly drunk crowd.The Rapture got right into it with the second track from their debut LP, “Heaven”, leading the crowd through an energized countdown to the chaotic melody of sheering guitars, disco bass-lines and of course, lots of cowbell.They continued to quickly work through their catalogue pulling out their newest hits “Get Myself Into It” and “Pieces of People We Love” within the first few tracks, all of which showcased Luke Jenner’s wailing high-pitched chants and the rest of the band’s grooved out version of modern disco.
Much to the audience’s pleasure, The Rapture sounded amazingly tight carrying us through their 80-minute set.Somewhere in the middle, bass player Gabriel Andruzzi grabbed the mic and sarcastically kudos the absent Presets on their ‘amazing set’.Clearly disenchanted, he told them to ‘go F#$@ themselves’ and dedicated the next song - their massive 2004 hit ‘House of Jealous Lovers’ - to the M.I.A. Parisian duo.With the opening charged-up drum break, the dance floor immediately broke out into a sweaty frenzy of rave and rock kids alike all moshing and displaying their funkiest moves on the floor at the Guvernment.It was clear that these boys from New York knew how to get a party started, even if it was at 8:30 on a Friday night.Undoubtedly enjoying themselves, they worked through the rest of their upbeat set playing fan favourites such as “I Need Your Love”, “The Devil”, and their ode to alcohol “Sister Saviour”.They ended off their set with their newest release “Whoo Alright Yeah Uh Huh” breaking down the song into a massive sing along with the audience shouting;
‘People don’t dance no more; they just stand around like this, they cross their arms, they stare you down, they drink, the moan, they dis’
Throughout all the shouting, four-to-the-floor drum breaks, and rolling bass lines, The Rapture played one of the most fun and exciting concerts I’ve ever been to in this city.Finally, a Toronto rock audience was able to put their egos aside and just dance like idiots for a single night.The Rapture’s Friday night show proved that even though the careers of many disco-punk bands never spanned further than one album, this particular New York foursome still have much to offer the world of Rock n’ Roll.“I need more cowbell baby!!!”
King Sunshine
CD Release Party: "Second Movement"
Reverb - 10.21.06
8/10
I was lucky to check out a 9-piece Toronto funk / soul / groove band called King Sunshine. With near freezing cold rain, I was great to see a great turnout at the Reverb. The venue was decorated quite nicely; coloured IKEA pendant lamp shades, video screens perpendicular to the stage and guest DJs were a welcome addition to the grungy punk space (although echoes of hardcore bands across at @cathedral still served as waiting line music at the door).
King Sunshine's got all the ingredients for a great retro dance party: disco roots, inflections of funk and pulsating dance grooves. With horns, sax, drums, percussion guitar, keys and bass driving the music, you just can't help but get moving - and then the female vox comes on stage and you're partyling like it's 1979.
This band (unlike the Killers on I&I) were dynamic and energetic technical performers. It's often tough to find technical performers who have some soul in them. Promoting their new album, Second Movement, highlights included At The Party, Monkey and It's the Joint. During the middle of the set, Sunshine busted out with an incredible 5-min 2-man percussion solo. Adding in a few standout sax solos the night proved to be a 90-min festival express - the grooves kept coming for the entire set with few breaks.
Although the band's seemingly unlimited energy powered through the night, the crowd's partying appeared to fade near the end of the train ride. Perhaps it was the late 12:10AM start; but nonehtless the groove turned back up to 11 for the encore.
Make sure you check them out next time they're in the city - be sure to put on your dancing shoes for a funky night!
Zonked from an all-day workshop at work, I caught a bit of the Killers in Much Music Intimate&Interactive tonight. They were gracing us with their superstar presence at the Much space on Queen Street. Sweet, a pick me up after the day; something more entertaining to watch than "Born to Be: Beyoncé" or "So You Think You Can Dance: 2" on syndication. (Benji Wins.)
Too bad there's really nothing superstar about these boys - more like flat, bland and boring. Fiesty Much VJ Leah Miller was clearly a fan of the boys, rhyming off memorized lyrics, smiling profusely and pulling carefully researched band quirks/facts about them to spark conversation. Sadly, it was more like talking to stoned lamp posts. There was zero personality, excitement or even attention to her… she'd mostly get dead end one line answers (if she was lucky). After the first few questions that had a reaction similar to poking road kill, she tried to spice things up by herding them outside for audience questions.
Envious fan: "How many empty bars did you have to play until you got noticed?"
(Band members not paying attention, Brandon Flowers' back is to the outside audience, busy signing autographs while the others are busy staring at the digital cameras)
Much VJ (grasping for their attention): "Guys? How many empty bars did you guys play? Before you got noticed?"
(painful dead air)
Ronnie Vannucci (drummer): "Bars? Oh.(pause) May be 2 or 3. It didn't take long before people got into our stuff."
(Fan leaves with empty sense of what's it's really like to make it).
Honestly boys. Can't you at least be a bit more realistic? OR at least pay attention to the fans outside freezing their butts off to see you guys? It's not like the popularity is new to you. It's been a couple years of this now.
Unfortunately the music wasn't any better. I am a fan of the Killers, but I’m glad i didn't get tix to the upcoming show. It sounded more like Karaoke. I have to say the band sounded quite crisp, however Brandon's whailing voice was a bit flat and lifeless. But more importantly, where's the enthusiasm from the band? I've heard rumors about the Killer's comatose stage presence, but being such "seasoned stars" by now you'd think they'd be more engaging. But it appears they're musicians and not performers.
Ah well. Didn't make it past the first 15 mins., so perhaps they woke up near the end of the show (their weed wear off?), but i wasn't prepared to wait - passing out on the couch seemed much more appealing!
After a sub-par show in the Spring, “The O.C.” indie music stars Death Cab for Cutie returned to Toronto for back-to-back shows Oct 30/31. The boys from Seattle put on a show that had all the bells and whistles you’d expect from a rock show – an artsy stage set, solo acoustic performances, an instrumental rock out interlude, and an encore ending #1 hit “Transatlantacism”. But the show missed that last ‘umph’ to shift it from good to great.
The DCFC set started on the wrong foot. With girls yelling “OMG they’re playing MY song” and an uninvolved sit-down audience, I began to wonder if Ted Leo would be the highlight of the night. Luckily lead singer and songwriter Ben Gibbard barked at the crowd to “get off your butts off those seats and get into it!” Unfortunately, a standing crowd was as lifeless as if they were sitting. The Toronto indie scene is well known for its comatose demeanor; it doesn’t help when it’s a slow, melodic alt-pop sound that most fans use to a) make out with b) try and get someone in the mood to make out with them.
Disco-punk, dance rock, disco-rock; whatever you want to call it seems to be a short-lived, dying genre in today’s rock scene.
King Sunshine
I was lucky to check out a 9-piece Toronto funk / soul / groove band called 