There’s always something special going on in Toronto… somewhere. And more often than not, for great music it’s a the Dakota Tavern (see clip below) near Ossington and Bloor. Yesterday was no exception, withGlen HansardfromSwell Season (from the movie “Once”) performing a secret show in prep for their performance November 2nd at Massey Hall.
Read the great cover article on this week’s Eye Weeklyfor more information. I was able to see them last year at the same venue, and was utterly blown away. They are promoting their new album, Strict Joyrelease this fall.
My favourite summer indie/folk festival of the year,Hillside Festival,have announced the performer list for their1-day winter event. Hillside Inside is celebrating its 3rd year, giving concert goers a winter music festival to boost them through the dark and gloomy winter months… and hold them over till the full 3-day festival in July.
This year’s event is held on Saturday, February 6th, 2010 at the Sleeman Centre in Downtown Guelph. Tickets on sale Nov 7th, 2009.
Ani DiFranco has written hundreds of songs, played thousands of shows, captured the imaginations of legions of followers, and jammed with folkies, orchestras, rappers, rock and roll hall-of-famers, jazz musicians, poets, pop superstars, storytellers and a martial arts legend. She’s “fixed up a few old buildings” and minimized her carbon footprint before it was trendy – from installing a geothermal heating and cooling system in the renovated church that her label calls home to using organic inks on all the t-shirts she sells.
A musician of incredible velocity, Hawksley Workman is at the top of his game when he has the solitude and serenity to write and record his music in atomic bursts, focused into monastic postures, accessing grace and brilliance in fluid, sweeping motions. With his increasing rock triumphs, growing fan communities and formidable body mass, Workman has evolved from the slight, pin-striped oddball with a critically-acclaimed diamond voice, to the panoramic, guitar-punishing superstar with no performance limits.
Owen Pallett’s live violin-looping project was named Final Fantasy, in tribute to the melodramatic videogame series. His sophomore album He Poos Clouds, written and arranged for string quartet, is a satirical song cycle based on the eight schools of magic of Dungeons and Dragons. The Village Voice praised it as having “the best lyrics of the year”. Final Fantasy was awarded the inaugural Polaris Prize for best Canadian full length album.
A native of Syracuse, New York, Martin Sexton grew up in the 80’s, uninterested in the sounds of the day, and fuelled his dreams on the timeless sounds of classic rock and roll. Sexton eventually migrated to Boston, where he began to build his following singing on the streets of Harvard Square and gradually working his way through the scene. His 1992 collection of self-produced demo recordings, In The Journey, was recorded on an old 8-track in a friend’s attic. He managed to sell 20,000 copies out of his guitar case busking. John Mayer raves that Sexton is “The best live performer I have ever seen”.
Since the age of three, Basia has been sitting on piano stools and trying to hammer things out. It started with her piano-teacher mum, but along the way Basia’s picked up guitar, autoharp, banjo, ukulele, sax and flute. In high-school her instrument was the upright bass a lone girl among “eight-foot-tall guys, goofing off with the tubas”. There’s a sense of play that still suffuses her music, jostling under the songs of regret and love, want and joy. When her brother began in his teens to play drums with punk bands, Basia would be there with her Demerara voice, joining happily in the jam. When she left for university in London, Ontario, musicians began to drop by her downtown apartment. Many nights were spent with these classically-trained friends, laughing and singing, and together they made a glad, bright noise.
Afie Jurvanen, aka Bahamas, spent two weeks in the winter of 2008 making his debut album, Pink Strat. It is named after his childhood guitar, which he still plays. In addition, he plays bass, drums, piano, various percussion, organ, slide, acoustic, and nylon string guitars on the album, and is joined by his friends from zeus, The Great Lake Swimmers, and Feist on a few of the tracks.
Woodhands is dirty electronic music. “We are interested in emotional, sweaty dance floors. We want to make you cry while you’re having sex, and it’ll be the best damn sex of your life. And you’ll be dancing”.
Woodhands started in a basement in Montreal, moved to Europe, and is now making love to Toronto and its environs.
Vancouver-based Delhi 2 Dublin is a group of five musicians who mash up electronica and world music, keeping it heavy on the Bhangra, Celtic and Dub flavours. Fusing tabla, fiddle, dhol, Punjabi vocals, and electric sitar with scorching electronic beats – ranging from reggae to drum and base – the crew takes listeners on a wild ride through global sounds and synchronicities.
I had no idea what to expect as I walked into the Rivoli last Saturday night. What initially brought me into the bar was to see the return of an icelandic band, Sprengjuhollin (pronounced “spreeg-guuee-hollin”) who performed here at the same venue at March. How often do you get to see a band from Iceland?
Sprengjuhollin have been on a Canadian tour, playing in the East Coast and in Montreal before returning back to the big smoke. With their arty Norwegian look, they sprung onto stage with tons of energy and punch. Atli Bollason (piano/back up vocals) was charged as the lead frontman in getting the crowd into their music. Although no one had seen them a few months ago, or even heard of their existence before that night, the band was ready to party.
Sprengjuhollin put in a fun bouncy set of pop, egging the crowd to move up from hiding in the back bar to “get into it” with them. They did pause from their jumping, head banging and guitar raising to give a quick lesson in Icelandic pronunciation: teaching the crowd how to stay their name!
Their acoustic track, “Worry til spring”was a standout, showing us they had more to offer than a Saturday night drunken jump ‘n dance act. The lead singer had a sweet Sunday morning voice, and reminding me of Copenhagen’s darling, Teitur(planes and airplanes album). There were some issues with EQ levels through their set, to the point where it sounded like white noise on some of their faster and louder numbers. It never stopped these lads from having a great time and enjoying their time on stage. I’m looking forward to hearing more from this band as they grow from their icelandic roots and into the English pop music scene.
Winhara exploded onto the stage with a strong set of powerpop and synth (think a cross between Muse and The Killers), combined with an light show you wouldn’t expect from an indie band at the Rivoli. It was clear they had an eye for details, and kudos to them for that – they understood that experimenting alt-rock with electronic can mean layer disaster and gimmicky if you don’t watch yourself. All their songs had a strong musicality to them, and you could sense their progression from alternative to the electro-rock space.
There was some good energy in the crowd, despite a trio of drunk guys at the front of the stage who were a little over zealous in showing their love of the band. I understand that “friend-power” spark the beginnings of success, but sometimes this love can take away from the experience to others… especially when bashing into them or shouting like bandits on a cowboy manhunt. Is this better than a stone cold comatose crowd? Or the ambivalent yet noisy peanut gallery in the back bar during Dan Mangan’s intimate acoustic set?
All frat boys aside, I was impressed with one of their newer electronic songs, “Five Alarm”with an infectious electronic beat and power vocals.Their title track, “Hold Back Light Show”was full of OK GO fun, and something you could easily hear on the radio. Their encore cover ofDepeche Mode’s Precious (below)was also impressive and something I’m hoping they continue to explore their synth experimentation as they head back into the studio this winter.
Winhara put on a well crafted show and show lots of potential. They want it and you can feel it. I’ll be looking out to see them when they return in 2010.
Reid Jameson w/Jessy Bell Smith
Rivoli
10.28.09
Doors at 7pm (show at 8pm)
Tickets $7 at the door
Reid Jamieson, a talented Canadian singer/songwriter is returning to Toronto. Originally from Toronto and now based in Vancouver, I was wisked away by his achingly sweet songbird voice and heart break music on his “Noise in My Chest” acoustic EP. His follow up alt-country album, “The Unavoidable Truth” was supported by a full band and Canadian talent including Sarah Harmer and Bob Egan, garnering critical acclaim in the Canadian folk/country circuit. Reid also released “The Presley Sessions”, a set of Elvis covers (with a Reid Jamieson touch) in honour of the 30th anniversary of Elvis’ passing. He is currently on tour with CBC’s Vinyl Cafe and making a stop here in Toronto at the Rivoli on Wednesday Oct 28th.
It’s been a few years since i’ve had the chance to see Metric. I missed the2008 show at Sound Academy, mostly on account of their playing at worst concert venue in Toronto – below the Air Canada Centre. The last time I caught them was at the Phoenix to promote their sophomore release, “Let It Out”.
It was nice to find out that Metric had grown into to the historic Massey Hall, similar to her Broken Social Scene chanteuse counterpart Feist had performed in last year. It was an all-Canadian evening with Montreal’s seasoned indie rock veterans The Stills opening the night with a high intensity set. They did a great job at firing up the crowd and building the excitement for the headliner. Lead singer Tim Fletcher encouraged those on the floors to get off their seats and come up to the stage, thereby opening the floodgates and indirectly giving permission for fans to charge forward once Metric hit the stage. They put on a solid set, playings songs from all three of their albums and putting on a show of their own.
Once the lights dimmed for Metric, the crowd followed suit from the opening act by charging the stage. It was great to see everyone on the floors as well as a good 2/3 of the second and third level on their feet for most of their 1.5 hr set. Emily bounced her way onto the stage wearing gold from head to toe, ala indie lady gaga outfit with attitude.
From their beginnings of high energy synth-rock of their first album, the angst ridden feminism from their second album, and positive message in their latest release, you could feel a sense of maturity and pure music professionalism in their music. Now hitting nearly 6 years since they broke into the scene with their first official release “Old World Underground, Where Are You Now?” in 2003, they’ve become season veterans in putting on a solid rock show.
Whether it be Emily’s robotic cheerleader dance moves (some definitely self-choreographed) and raw impassioned expressions, or post-modern Apple nation set design, Metric were in their element and captivated the audience from beginning to end. Emily was able to vitalize the typically comatose Toronto crowd into belting out her signature “oo huh uh uhs” and “bam chicka bams” and clapping along… and also using the classic “You can beat yesterday’s show can’t you?” tactic to further get a rise out of them.
The band played a nice blend of new and old tunes, with highlights that include Empty (see below), Glass Ceiling, Poster of a Girl, Dead Disco, Help I’m Alive, Sick Muse and Twilight Galaxy. They also performed one of my favourite ambient ballads from the new album, Collect Call,which silenced the crowd in reflective awe. Thanks to the fantastic Massey Hall acoustics and EQ levels you could hear every guitar note, rolling beat, ambient sound and synth frequency that showcased the range of this homegrown band’s ability.
Metric finished off their encore with a nice acoustic rendition of Combat Baby. It become more of a singalong and celebration of their 2-night stay at Massey Hall. At the end of the song you could feel the emotion and memory that will not only have a lasting impression for the fans, but for Emily and the band as well.
Over the past couple years I’ve been following Dan Mangan. So far it’s been a great story for this Vancouver singer/songwriter, whose recent sophomore release “Nice, Nice, Very Nice” in August with Criminal Records has caught some big attention from CbcRadio3 and the indie folk music community. I remember being among a handful of people at NXNE last year, or even catching his free show at the Annex Room with IndieCan, where a small cult-ish Toronto group yearned for him to belt out “Robots” or “Not What You Think It Is.”
Walking in late at the Rivoli on Friday (unfortunately missing the County French), I was initially taken back by the number of people there. Mangan and his band had been having a rough day: they performed a gig in Peterborough the previous night, a CBCRadio taping during the day and an early evening promo show at Criminal Records just a few hours before hitting the stage.
Mangan played a blend of new and old tracks, this time bringing a full band of horns, pianos and string players along with him. He was quick to pick the crowd with his upbeat, clap and foot stomping “I’m Sold”. The 3 hours of sleep did not hinder; it only added a bit more ash and whisky to his already passionate deep and raspy voice.
Unfortunately he wasn’t able to stay in control of the crowd soon after. It wasn’t his fault though, since most of his music is downtempo and without drums…and Mangan frequently use of pregnant pauses. It really takes an attentive and intimate crowd to feel the full effect of his music. Unfortunately this wasn’t in the cards this evening in this apparent industry folks and hyped hipster show.
The back bar noise (usually drowned by the drums/electric guitars) overpowered Mangan and foiled any attempt of emotional connection to the music. Beautiful songs like “The Indie Queens Are Waiting”, which include soft female vocals by Veda Hille, was butchered and lost any sensibility when all you can hear are details on Lucy’s drunken stupor last night. It was also clear they weren’t listening at all – during a few dramatic pauses mid-song, folks in the back clapped, thinking the song was over. This is worse than newbies at Roy Thompson Hall who clap between every movement in a symphony or opera, since they’re only guilty of innocent ignorance on classical music ettiquette. In this case, the knobs in the back had no respect or care over the show; they clapped while continuing their banter about their work week and how bad the Leafs. It’s just a classic case of stardom, and perhaps why many singer/songwriters become cynical or complacent feeling that no one is really listening. Bummer.
The turning point of the show was when a righteous audience member dutifully yelled “SHUT THE FUCK UP” after yet another ruined pause during “Basket”.
The peanut bar did subside (post yell) for the back half of the set — and this is where Mangan started to showcase what he was all about; highlights included “Tina’s Glorious Comeback”, “Pine for Cedars” and “So Much for Everyone”. I was hoping to hear “Unnatural Progression”, but in retrospect this was probably for the best in the event of being butchered by the bastards in the back!
The crowd favourite, “Robots“, ended his set and had the crowd singing, “Robots need love too. They want to be loved by You. They want to be loved by you”. Mangan also brought his “1980’s awesome” plastic robot and encouraging him to be crowd surfed during the tune. This was the only case where a full capacity crowd was a benefit, although it was not to outweigh the loud obnoxious peanut gallery for most of the set.
Let’s hope next time the crowd can appreciate the music more than the hipster hype.
