Like I’ve said so many times before, you’re usually hard pressed to find a good hip hop show coming through Toronto.Most artists just don’t seem to have the time or enthusiasm for hog-town.But every once in a while, there’s an exception to the rule.
For anyone who’s a hip-hop, soul, funk, or even rock fan, you’ve probably heard of Philadelphia’s legendary Roots Crew.Hell, you’ve probably even seen them live.If not, what are you waiting for?Last night The Roots made their triumphant return to Toronto in support of their latest release, “The Game Theory”, and man was it a party! Arriving at 10:15 pm to a massive line up around the corner and onto the Queen’s Quay, there was no doubt in my mind that this particular sold out show was going to be one of the best.As soon as we entered the building the fresh scent of ganja and the loud rumble of a sold out crowd filled the air.Finally, a real hip hop show.Opening support, Zaki Ibrahim set the mood properly by singing some slower r&b jams, easing the audience into soulful vibe.The Toronto-based artist played through several joints sounding as sexy and funky as everyone says she does.As we waited for the stage to be set up, DJ Agileof BrassMunk took to the one’s and two’s to set the mood properly, spinning loads of classic old-school like KRS-ONE, A Tribe Called Quest, and of course, the late great J-Dilla.
After 15 minutes, the lights went down and eyes gazed towards the stage.Only the Roots weren’t entering onto the stage, but rather, they were marching through the audience playing their instruments to a funky afro-induced jam-out led by ?uestlove.As the Roots slithered their way to the stage, the audience erupted with a warm embrace as our favourite hip hop group was getting ready to knock our hoodies off.Right from the get go, the Roots launched us into a full on funk assault playing classics like “Mellow My Man”, “Proceed”, and “You Got Me”.In between songs, Black Thought took his time to introduce each band member, allowing them to take their spot light and wow the crowd with a solo.This time around, the Roots were also supported by a marching band quartet called “Brass Heavens” who added a bounce to everyone’s step.In total, the crew consisted of about 11 members and even had choreographed dance moves to go along with every song.
It was clear that this was not just a tight band, but each were spectacular musicians who had all mastered their craft.They even took the time to play cover songs of rock classics like the Police’s “Roxanne” – as sung by ?uestlove – and Bob Dylan’s “Masters of war”.The Roots are truly professionals who can play any type of music dabbling in a little bit of soul, funk, afrobeat, classic rock, and even a short rendition of “Sexy Back”.After wearing the crowd out with a 2 ½ hour set, they finally called it quits just before last call with a jammed-out version of ‘The Seed’.
This was certainly a treat for Toronto from the legendary Roots Crew.I’m not usually one to give a show a perfect rating, but this particular concert had everything you could want; a show full of theatrics and bounce from the best funk, soul, afrobeat, r&b, and rock band I’ve ever seen.If you haven’t checked these guys out, be sure you do.You will not be disappointed.
Last Sunday was a night of anticipation for all Blur/Gorillaz, Verve, Clash and Fela fans alike. Given the odd falling of The Good The Bad and The Queen’s North American debut on a Sunday, it was interesting to see a packed audience at the Kool Haus on a cold night. For people like myself, excitement filled the air even as the show began with an extended vaudeville magician opening act. Yelps of “you suck,’ and ‘start the show already’ spewed from the crowd as the magician successfully bored the crowd with childish mind-tricks. The brainchild of Albarn? Most definitely.
Having heard about a tired magician opener in the UK prior, it seemed like Damon Albarn was on a bit of an ego trip and had decided he could do whatever he wanted. Once the dreadfulness was over, TGTBTQ finally took stage at 10:30. The crowd erupted as Paul Simonon of the Clash was the first to enter the stage. Finally Clash fans from all over the GTA had a chance to see this living legend in action, and even better, beside our favourite songwriter of the 21st century, Mr. Albarn. As the band began to play through their short set of songs, it seemed like the concert was waiting for a liftoff that never came.
Although each song sounded great, they would build up to the point where something had to happen, and never did (a lot like the album). This left the crowd frustrated, even though each song was accompanied by a hefty applause afterwards. Songs like “Herculean” and “The Good the Bad and the Queen” were definitely the stand out tracks; Albarn manned the grand piano at the center of the stage and commanded the audience while conducting the band of Simonon, Tong, and Allen. The banter with the audience was limited between songs, once where Albarn wanted to tell a story about his real, legitimate top-hat, but instead fell asleep at the wheel as hundreds of fans were left disappointed.
The lack of energy and excitement of an otherwise good performance was a let down, since they were the newest ‘Supergroup’ to hit the buzz charts. As for Paul Simonon, it looked like he was just waiting to rock out like the old days with the Clash. Unfortunately for him, Albarn’s strange brew of songwriting for this particular album prevented the rest of the band from doing what they do best; play as great musicians.
The show came to an abrupt end at 11:20, where they came back on stage and performed a b-side from the album that sounded like they’d never played the song live before. Too bad. Although it was nice to finally see Albarn “do his thing”, the music from this particular album left me wondering why such a great line up of musicians left us with such an unimpressive performance. My heart was broken. But maybe it’s just a case of the band members being too old to perform that way anymore, although Mr. Simonon still showed some signs of life. 7/10 is being generous, but I love these guys too much for what they’ve done on their own to give the show any lower of a rating.
Ohbijou, Frida Hyvonen and Under Byen made up the three acts who performed last Thursday at the Mod Club for Canadian Music Week. The festival, which was established in 1960 to celebrate the 25th anniversary of the birth of then Canadian Federation of Music Teachers’ Associations was renamed Canada Music Week in 1961 and brought together various Music Teachers’ Associations from across the provinces to promote and celebrate the beauty of musical pedagogy. If that doesn’t blow your mind, the whole thing used to be held in November to coincide with St. Cecilia Day, a day that honours the Patron Saint of Church Music. Thankfully, registration requirements have subsequently expanded and not only were two thirds of this particular showcase Scandinavian, it was also a great opportunity to be exposed to a gratifying albeit decidedly unCanadian sonic experience.
Hyvonen, a singer songwriter from northern Sweden, Umea to be exact, the hometown of fellow indie act Sahara Hotnights, gave a relatively mellow and heartfelt performance. Sitting entirely at a piano with her back turned to the audience, her music and physical appearance gave the impression of a damaged china doll, an indie Courtney Love in vintage dress and heavy makeup, performing with significantly less arrogance and perhaps more talent (Billy Corgan doesn’t write her songs). The audience was certainly receptive and Hyvonen playful as her sense of humour punctuated quiet moments of banter while she acknowledged the obvious absurd juxtaposition plugging her record while singing otherwise painfully emotive songs on love, relationships, and other things pressing to young Swedish pianists.
Following Hyvonen, Under Byen (pronounced Oh’nah-Boon), the Danish ‘sensations’ that have been garnering great reviews in the popular press, most notably from Rolling Stone’s David Fricke, whose oft cited soundbyte “Welcome to the best band in Denmark, probably the best band in the world”, has graced nearly every bio published on the band, took the stage as the final act. Currently on tour to promote their new album, Samme Stof Som Stof (which despite provoking an immediate desire to translate phonetically as a statement on existential boredom, actually means a more perplexing Same Fabric As Fabric), the band has been compared alternately to Portishead, Bjork, Mogwai and Sigur Ros. While each of these comparisons is certainly warranted and musically detectable, the band put on an absolutely scorching display of their own brand of experimental space rock with everything from slow trip-hoppy jams to absolute mind-melting psychedelic freakouts featuring, among other things, a distortion filled electric-saw solo. Excellent attention to lighting props and projected kaleidoscopic visuals accentuated an intense performance that also featured violins and horns among the usual rock instrumentation. Nils Grondahl, in particular, the aforementioned electric-saw virtuoso reminds of Johnny Greenwood, playing what seems like nearly everything, that it’s a surprise to discover he is neither songwriter nor an original founding member of the band.
Although much has been said about the excellence of the Mod Club as a concert venue, and the acoustics and atmosphere were no different this time around, I feel compelled to remark on the early open doors time which caused at least this writer to miss the first and only Canadian act, Ohbijou. While the other two acts entirely proved the value of the experience, the fact that such a noted venue feels required to start shows early and forcing opening bands to play to relatively sparse crowds, compounded by a need to evacuate the premises in time for a live-to-air popular music show, it certainly calls attention to a lack of commitment in showcasing live music during CMW. Hopefully in the future exceptions can be made during promotional events so that all those who filled out the crowd for our Scandinavian friends can also enjoy some local homegrown talent, for whom the festival was historically created.
Anytime there’s a Scissor Sisters concert, you’re guaranteed to find the gay men and fag hags out from the woodworks. The show at Kool Haus did not disappoint – with over-the-top theatrics, on-stage stripping and go-go dancing, this campy and sassy group of fashionistas came out with all the bells the whistles. Literally.
The fans were eager to see the Fab 5 after they postponed their October show because of a back injury to drummer Paddy Boom during a show at MSG. With openers named “Wigs on sticks” and a DJ spinning anything from a remixed version of Depeche Modes’ “Personal Jesus” to deep house/diva circuit beats, the lines were blurred between Glam Rock Show and All-Night Gay Circuit Party. The fans were dressed to the nines, with boas, sailor suits, and fag hags to match, which made the pockets of ‘girls night out’ soccer mom groups a tad uneasy…. was this is the same Elton John disco revival band they’ve been hearing on Mix 99.9? OH yes, my dear!
Gracing the stage to Kiki Dee’s “I’ve got the music in me”, the Sisters kicked the evening off in style. Lead singer/songwriter Jack Sears was his usual glitzy femme self, sporting Disney pants, a chest open Mickey Mouse jacket and Mickey Mouse visor. But despite the built up energy upon their arrival, the first few songs fell a bit flat; the Sisters were not ready for this comatose Toronto concert crowd. In an effort to get the fans dancing (this IS the Scissor Sisters!), ‘Mistress of Ceremonies’ Ana Metronic taunted the crowd:
“So we were just at the Montreal show and they were some hot bitches! Are you as good as them? You look like you’re taking notes for a thesis paper…Show us what you got! Cause when you give, we give and when you give more we give more, and we give and give and give and give…Cause it aint a party will the tits come out!”
Perhaps it was the stab about Montreal, or perhaps it was the fact that it was a perfect segway to “Tits on the Radio”, but the venue erupted. In the middle of the song, Metronic pulled out a mini rocket launcher and rocketed bras into the crowd. How could you NOT get pumped about that?
It was no turning back when they broke out to “Filthy/Georgeous” – it was a feeling of unlimited energy that I hadn’t experienced in a long time at a show. Throughout the night, Sears stripped down to just his pants, go-go dancing, grinding with Metronic and running laps around the stage a-la-Mick Jagger/Robbie Williams on a pink pill – signs of a born frontman entertainer!
The Sisters closed the night with “Take Your Mama” and “I Don’t Feel Like Dancing,” (video clip below) leaving the crowd wanting more.
You’ve got to give credit to this band; despite the lack of traction and distain from the US (incl. in their NYC hometown), they’re doing what they do best. Sure, Sears turns to bathroom shower falsettos more than actually singing. Sure, some of their experimental numbers can get a little out-of-space. Sure, their dance/pop cover of Comfortably Numb caused ear-plosions among Floyd purists. But these fashionistas put on a great high-energy sexualized show, reminiscent of the Elton John/Queen/Ziggy Stardust theatrics we don’t seem to have much of anymore. Afterall, their name is slag for a lesbian sex position! Go Sisters go!
Mature, simple and sincere – The three adjectives that best sums up Ben Kweller’s live performance. Never one to be too flashy, the modest, older looking American version of Ron Weasley took the stage with a three-piece band that had the letters “B” and “K” taped to two bass drums. Rather then trying to win over the crowd through yelling obscenities or overblown guitar solos, Ben let the music do the talking. Simple melodies make for good harmonies, and the band clearly took advantage of belting pop ballads.
Although not so evident in recorded sessions, Ben’s live music exposes his influences, which often times seem a little too similar to his own music. His first single “Run”, possesses comparable high-keyboard notes that successively jump throughout the song as Bruce Springsteen’s “Hungry Heart”. Ben changes his voice “I Don’t Know Why” to match that of Tom Petty’s “I Won’t Back Down” during the chorus. “Wasted and Ready” carries the same emo-driven guitars as Weezer’s “No One Else”. Whether the uncanny resemblance was intentional or not, Ben makes up for it in his enthusiasm for each song.
As a three-piece band, the sound could not have sounded fuller. Ben would make several instrument changes from keyboard to guitars, displaying not only his versatility in songwriting but his ability in live performance as well. It was simply unfortunate that nearing the end of his heartfelt performance, the audience chatters has grown to become even louder than the songs themselves.
Pompous, complex and arrogant – The three opposite adjectives that best sum up Gomez’s live performance. Not to say that these are bad qualities. In fact, they appeal perfectly to our image-driven generation. By “our generation” I refer to the generation discovering Oasis’ “Wonderwall” on A.M. band., and these are the exact same qualities why Richard Ashcroft, Jarvis Cocker and Robbie Williams are adored by millions today.
But unlike Stereophonics, Oasis, or Coldplay, England’s own Gomez still has yet to make a dent in the market across the ocean. Despite having already released 8 albums and 14 singles, Gomez still feels like the hidden gem that North Americans have yet to discover. The ingredients to a perfect Brit-pop band are all there: layered guitars, raspy vocals, elaborate intros and a psychedelic sound – yet no cover of the Rolling Stones to date.
Possibly, the same qualities that made Gomez so likeable also seemed to deter from their massive sound. The use of over-the-top double drumming and lengthy guitar riffs in their live performance at times hindered the simplicity of their melodies, but worked in other cases. The recorded version of “How we Operate,” for instance, is much tighter recorded than how it was delivered live, however “Silence” was performed perfectly with solid breaks and well-contrasted use of dynamics.
Nearing the end of the show, vocalist Ian Ball ordered the television behind the bar to be turned off, yelling “It’s playing bloody American wrestling!” The band then continued to rock the fans well past midnight – a true rarity on a weekday performance.
SPOT-lighting new artists and launching the site!
Live music, giveaways and alcohol…
What more could you ask for?
Date:
March 22, 2007 @7:30PM; Show 8PM
Tickets:
$8
Location:
The Boat
Address:
158 Augusta Avenue
Advance ticket holders will get a free CD sampler of music by the artists performing. Also other free giveaways at the event!
Party with us and these homegrown artists:
The Roots
Ohbijou, Frida Hyvonen and Under Byen (EYE Weekly CMW Music Showcase)
attention to lighting props and projected kaleidoscopic visuals accentuated an intense performance that also featured violins and horns among the usual rock instrumentation. Nils Grondahl, in particular, the aforementioned electric-saw virtuoso reminds of Johnny Greenwood, playing what seems like nearly everything, that it’s a surprise to discover he is neither songwriter nor an original founding member of the band.
Scissor Sisters
