Check out J. Tillman (from the critically acclaimed Seattle band Fleet Foxes, self described as “Baroque harmonic pop jams”). He’s currently on tour promoting some of his solo folk work, performing at the Legendary Horseshoe Tavern tomorrow.
I’ve yet to hear much of his work, but from what I’ve heard he has taken a very delicate, melodic and lyrical direction. Check out some of his work:
Ever since coming across Reid Jamieson about 5 years ago, floored from his acoustic EP “Noise in my Chest,” I’ve been meaning to see him live. Ever since he moved to Vancouver, it has been tougher and tougher to catch him. I was lucky enough to hear about his return to Toronto last Wednesday.
Walking into the Rivoli, I was taken aback by the revamp of it’s typically drab (yet intimate) backspace. The space was transformed into a classic 1940s-inspired jazz bar, complete with tables w/white table cloths and candle lights. Not bad for a quick turnaround; enough so you didn’t care much about the plastic patio chairs and sticky floors from the previous weekend’s shenanigans.
Guelph folk darling Jessie Bell Smith kicked off the night with a solo set of gutteral roosty songs about old age homes, dead mice and drunken jagermeister. Bell has a commanding raspy twang with the potential of great dames Etta James, Janis and Emma Lou Harris,powerful enough to fill the room without a mic. I wished she opened our eyes more as she was belted out those raw alto notes to strengthen her already powerful connection to the audience during her set. She has a ton of potential – look out for her as she grows and returns backed by full band.
Coming straight off the heels of a successful tour with CBC’s Vinyl Cafewith Stewart McLean, Reid Jamieson came onto the stage to a warm and comforting crowd of close friends and family, including a few folks the Skydiggers. His elation and emotion came through very strongly, as if he was putting on a special show in his own living room. Jamieson was very professional and polite in his demenour, playing songs from his albums The Unavoidable Truth, The Presley Sessions, and his new EP, Courting Juniper, coming out this month.
Jessie Bell Smith came onstage to sing Paperback Fantasy, one the highlights of the night. Unfortunately he did not play any of his evocative and intimately private songs from his Noise in My Chest release, but it had been over 5 years since its release.
Although he started polite and professional off the gates, Jamieson loosened up to become his alter-elvis ego for his set of Elvis songs, and closing with a fun cover of Natural Woman. Looking forward to hearing his next album of (presumably) knee-shaking heartbreak tunes and sweet love songs – something for which I can never seem to get enough.
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.
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.
It’s difficult enough to keep up with the kids these days, espeically the teen pop idols of the hour. Because I find myself outside of the mainstream media more and more, rarely listening to radio and without cable, my daily dose usually comes from the day’s Metro on the subway, billboard or Yahoo.com newswire splash page at the intro. Sometimes the rise of mega superstars takes me completely by surprise. Over the past 3 years Regina has surged into the pop circuit right from under my nose as a quirky darling of folk songs. Her her music has bubbled into TV, feature films and commercials across the US and UK.
Although I’ve known about her for awhile now, I’ve never had the chance to see her live. Regina’s eclectic style of music parades around folk, pop, jazz, classical and international (jewish/russian). Her music is not written, but rather, readily streams through her and connect us with her inner and random-most thoughts and imaginations. Whether it be characters, a scene, autobiographical, or otherwise, she pulls us into her colourful world with every note she sings, bucket she bangs or key she presses.
Now about the show. Walking into the sold out crowd at Sound Academy in Toronto, you could feel the young and vibrant teenage energy, to the point of questioning, “Am I at the right show? Will a boy band would be walking on the stage??” I passionately detest the Sound Academy, because of the long and narrow layout that squishes everyone like sardines with crappy sightlines, it’s bar-ocades (designated drinking area only on one side and at the back), and bad sound. The positioning of the Steinway piano also impeded half of the audience from seeing Regina’s face, adding to the poor visibility.
Despite the venue issues, Regina put on a great show. She moved back and forth from her Steinway, electric keyboard, guitar, and even a solitary drumstick and chair for the song Poor Little Rich Boy. From the get-go the show was more of a mass sing-along (ala Dashboard Confessional, thankfully without the awful agnst and self loathing) with the crowd belting out songs such as “On the Radio”, “Fidelity” and “Samson”. I was also moved by her performance of Apres Moithat included verses in Russian. The sing-along was tolerable, but a few were shouting and making it hard to stay connected to the music – this was not an AC/DC Rock show!
The highlight of the night for me was her passionate and hunting performance of Human of The Year. The crowd was silent (as it’s a new track off her latest record, Far) and deep into her world – Regina showcased her vast vocal range that left the crowd in awe.
The audience was taken a little off guard with her choice of a country song to finish the night. That just goes to show you can never pigeon hole Regina! If not for the venue, this show would have been spectactular. Let’s hope next time around she can play at Massey Hall… with an 18+ show added!
Jill Barber w/the Hyzoloists
Mod Club
12.21.09
8.5/10
Jill Barber swooped through Toronto on a frigid Saturday in February, promoting her new album, Chances. Using this night as her “official” launch party for this album, I couldn’t think of a better venue than the Mod Club to host. With a hybrid of seats, cocktail tables and a giant mirrorball set, the venue was as classy and chic as our the beloved East Coast singer/songwriter who graced the stage.
CBC Radio3 host Grant Lawrence was the MC of the evening, kicking off the night with a heavily layered and resonant instrumental set from Toronto’s own Hyzoloists. There aren’t many times you get a chance to hear the xylophone (or is it a Marimba?) as the lead instrument in an indie band without it sounding like dissonant off-the-rails random indie band that Pitchfork somehow rated 9.2/10. The Hyzolists were in actual fact very talented and experienced, knowing how to construct a composition with enough variation, layering and movement to keep audiences engaged and from leaving to grab a drink.
Jill Barber bounced onto the stage with a 50’s inspired skirt that fit the theme of her new album, Chances. The bright and bouncy dress matched Barber’s beaming smile and enthusiasm, infectious to everyone watching and the music she performed. Her signature seductive smoky alto voice worked in harmony with her 50s jazz/folk inspired music, staying true to the sound but still relevant to today.
Barber’s performance appeared effortless, captivating the audience though great storytelling and intros to the inspiration to her songs. The highlight of the night was her performance of “Oh My My,” a song which could easily be mistaken as a classic Mississippi bluegrass folk tune sung in the Great Depression. With hand clapping, toe stomping call and answers with the band/crowd, Jill had everyone moving and singing to the beat.
Jill Barber’s set also included some of her classic love/lust songs such as “For All Time,” “Two Brown Eyes” and “When I’m Making Love To You”, reminding us why we fell in love with her in the first place. Overall it was a great show and one leaving everyone with a big smile on their face and little pride in finding a Canadian talent so genuine that can connect with listeners from all ages and backgrounds.
With North By North East Music festival fast approaching, tons of artists will be rummaging through the big smoke in the beginning of June. One such artist by the name of Dan Mangan, a Vancouver BC singer/songwriter has swept likes of CBC Radio 3 ala Podcast Host Grant Lawrence and his listeners with his all encompassing folk vocals that has stopped even the most rowdy and rambunctious crowds. The track, Unnatural Progression , stopped me in my tracks. His deep rooted, personal vocals and soft guitar backdrop will warm any evening – despite how sad and pensive they may be.
As part of his cross Canada tour, he’ll be playing a couple venues in June.
June 13 June 12 – Toronto – The Rivoli - "TMB Lawyers" Showcase for North-By-North-East (Time TBC)
June 14 – Toronto – The Savannah Room - North-By-North-East @10 PM. Savanaah room is a bit of a hole but will give a truely intimate vibe; guaranteed he’ll blow you away.
Dan Mangan – "A Passport Approved" Live on Indie 103.1
