Band: Wilco
Venue: Budweiser Stage
Date: October 8, 2019
Over the last 30 years, rock has experienced the rise and fall of grunge, 90's pop-rock, the grunge rock revival and other movements. During that same time, Jeff Tweedy was steadily cementing this status as a prolific working-class musician by releasing close to thirty albums — some of which are indisputably among the best and most essential releases in modern times. Eleven of those with Wilco.
This past Tuesday, Wilco kicked off their North American tour in support of their latest record, Ode to Joy.
For reasons unknown, Wilco and Live Nation (or the unpaid intern) decided to book the 16,000 seat Budweiser Stage. Don't get me wrong, some bands lend themselves to the steel-framed, corporate-run amphitheatre. But Wilco's music is far too delicate for such a massive place.
The day before the show, only about a quarter of the tickets had been sold. Hardcore fans shelled out an average of $120 for a chance to see Wilco, but in a desperate final attempt to sell more seats, the prices dropped significantly on Ticketmaster. A blow to those who gave up groceries or booze for a month to afford their full-price tickets.
To make things better for me—but worse for everyone else—complimentary upgrades were made available at the door. For $45 (all in!), I got to see Wilco from a prime seat. A last-minute decision I will never regret.
Wilco humbly walked on stage at 9:00, and for the next two hours, they treated the audience to a career-spanning set. Seven songs from their newly released Ode to Joy were carefully intertwined with classic staples such as the distressing "I Am Trying to Break Your Heart" and "Via Chicago."
The delicate megahit "Jesus Etc." was a notable absentee, but given the devotion of the few who showed up to the show, the song selection left us feeling like we got our money's worth and more.
Also absent were Tweedy's dad jokes. In fact, two songs in, he made it clear it wasn't the night for chit chat. "We have a lot of work to do tonight."
However, later on, he jokingly reprimanded Jewish fans, as that day marked the start of Yom Kippur—the holiest day in Jewish culture, typically dedicated to reflection.
Despite a general feeling of disappointment in the turnout, Wilco's sense of play wasn't lost. Lead guitarist Nels Cline played extended solos on Via Chicago, and I'm The One Who Loves You. And drummer Glenn Kotche's whimsical off-beat fills through the set got their usual standing ovations.
Wilco's musical virtuosity guarantees an excellent performance no matter what. I maintain that whoever booked what was clearly the wrong venue for this band (and usually not a good time of the year for an outdoor show) should most likely be fired. Maybe they already have. But I am thankful in a way, as I was able to enjoy an iconic band from great seats for a steal.
Band: Iron Maiden
Venue: Budweiser Stage
Date: August 10, 2019
When Maiden comes to town, their presence is known. Donning terrifying black Iron Maiden shirts, "metalheads" of all ages flood the streets of Toronto as they embark on their obligatory pilgrimage to the gig. Once there, adult "metalheads" pound back pints of "Trooper," a beer commissioned by the band.
The shirts, the dark imagery and song names like "The Number of the Beast" give every mother a reason to assume we are attending a dark satanic ritual. The reality is...an Iron Maiden show is like going to see a horror play. Think Macbeth or the Phantom of the Opera. That all said, Eddie, their otherworldly mascot, is quite terrifying.
This past weekend, Iron Maiden brought their Legacy of the Beast tour to Toronto's Budweiser Stage for two sold-out nights.
The Legacy of the Beast is Maiden's most ambitious and theatrical production to date. Since this was by far one of the most memorable shows I've ever attended, I feel it deserves a rather self-indulging, in-depth look.
As I was thinking of how to unpack the setlist, I realized it could be organized into five thematic acts: war, religion, mythology, horror and philosophy.
This time around, lead singer Bruce Dickinson explained they were "not going to play any new songs." Instead, they chose to — for the first time — celebrate their existing catalogue. The news was bittersweet, as Maiden fans tend to embrace new material with their fists up high.
Let's dive in...
Act I: War
8:50 PM. The lights dim in the amphitheatre and a taped version of "Transilvania" slowly fades in. Fans rush to their seats but know they have time, as UFO's 1974 "Doctor Doctor" has signalled the start of the show for the last ten years.
Knowing the show is about to start, we make ourselves comfortable in our usual nook. Its location I can't disclose for obvious reasons, but I can tell you we stood much closer to the stage than we were supposed to. Our rock & roll way to stick it to the man.
Two soldiers stand guard as Winston Churchill's famous WWII rally cry plays in the background. When Churchill says the line "We shall never surrender!" the lights go out, and the soldiers pull the covers off the stage. Within seconds, the barren stage transforms into the sodden trenches of the Battle of Britain and the band rushes on stage playing the explosive "Aces High."
If that wasn't enough, a life-size WWII fighter plane descended from the rafters as singer Bruce Dickinson ran on stage donning a full fighter pilot outfit.
The next few songs followed the same theme. "Where Eagles Dare" and "2 Minutes to Midnight" both sing of the second world war.
"This next song is called The Clansman. That's with a "C" for any Americans who may be here tonight!" Dickinson explained, now wearing a red Brittish Army uniform.
"The Clansman" is a song about the early Scottish clans' struggle as they fought for freedom from their oppressors.
"The Trooper" marked the end of Act I. A song about the 1854 Battle of Balaclava, during the Crimean War. This song is incredibly cinematic. The drumbeat resembles the galloping of the horses as they charged towards the Russian army.
At this point, a larger than life Eddie made an appearance, challenging Dickinson to a sword duel in front of a giant illustration of a grim battle. Dickinson — a former professional fencer —inevitably defeated the evil enemy, setting off pyrotechnics off Eddie's face.
Act 2: Religion
Any Maiden fan will know that drummer Nicko McBrain is Christian, and while not Christian themselves, the rest of the band has always been fascinated by Christianity. Be it Biblical stories or the tumultuous history of the church.
For the second act, the stage became an English gothic church — complete with stained glass windows featuring Eddie and wooden candle-lit chandeliers.
The songs during this part of the set included "Revelations," "For the Greater Good of God," and the chilling sing-along "Wicker Man."
Act 2 culminated with the eerie "Sign of The Cross," Maiden's longest and most progressive song. This song demonstrates how Maiden gets away with three lead guitarists who are best mates. Besides their signature harmonies, each brings a unique playing style that together makes Maiden...Maiden.
Act 3: Mythology
I am not sure if you've noticed, but we are nine songs in, and there has been no song to be missed for a quick piss. And this may be a spoiler, but Iron Maiden made sure you got your money's worth and then some with every chosen song.
After two long themed acts, the stage once against transformed. This time into a Greek temple.
Maiden blared a much heavier and faster version of "The Flight of Icarus.". Fans were ecstatic. The song about the epic Greek mythology story had not made a live appearance since 1986.
As with the cover of the vinyl single, Dickinson used [real] flame throwers to melt the wax off Icarus' wings. Icarus then ignited sparks and fell into oblivion.
Act 4: Fear
On what I would guess was the fifth or sixth outfit change, Dickinson entered the scene of a dark world wearing a long black coat and top hat. On his hand, he held a lantern as he sang "Fear of the Dark". Because both Dickinson and bassist Steve Harris suffer from a certain level of Nyctophobia, the song is played with authentic first-hand conviction.
The scenery quickly went from dark and spooky to downright terrifying when a colossal devil overcame the stage for the band's most infamous song (amongst mothers): The Number of the Beast.
For an outsider, I can understand how hearing a choir of 16,000 chanting "Six! Six Six! The Number of the Beast could be terrifying. Thankfully the song is about a nightmare, with heavy influences from the book of Revelation and a Robert Burns poem.
Being at an Iron Maiden concert while this song is playing is hard put into words. In one hand, you have thousands of people screaming the words with their "irons" up high having a blast. Then there is the band, who always, always dons a grin as they run around in circles, teasing each other and laughing.
Casual fans would have been ok to end there, but there were more surprises.
In keeping with tradition, the melodic anthem "Iron Maiden" closed the set.
Encore: Philosophy
The eternal battle between good and evil, questions of what constitutes morality and the meaning of life are at the core of Iron Maiden's music and lyrics.
The epic "The Evil That Men Do" opened the encore before quickly transitioning into the highly celebrated "Hallowed Be Thy Name."
The performance of "Hallowed Be Thy Name" defied the archetype of the encore. This was no victory lap; Iron Maiden had more stories to tell in full.
For this song, Dickinson dressed like a prisoner in rags. With shackled hands, he cried for mercy from inside a cell at the top of the stage. As the song progressed, the prisoner makes his way to the gallows, where a noose awaited.
The vivid scene of the final moments of this prisoner, made "Hallowed Be Thy Name" the most dramatic performance of the show.
11:00 was a few minutes away, so the next song was inevitably going to be the last. The band closed the show with the classic "Run to The Hills."
"Scream for me Toronto!," Dickinson commanded. And the crowd obliged one last time.
Unlike many of their peers from the first wave of heavy metal, Maiden still looks and sounds fresh. Every member treats the show like an Olympic marathon, sprinting, jumping, and in the case of Bruce Dickinson even lunging. Their athleticism may explain their energy and good health, but it's their passion that continues to attract new fans.
Lead guitarists Dave Murray, Adrian Smith, and Janick Gers look like best friends running around in a playground with their favourite toys. Steve Harris and Nicko displayed the same level of excitement and gratitude. None of them ever missed a single note.
I connected with a long-time Maiden fan and asked how their live performances today compare to their early years. Unsurprisingly, they said the shows just keep on getting better.
Iron Maiden tours are a commercial Behemoth. On average, a show will gross about $1.25M in revenue. But it’s clear that even considering how lucrative touring can be, these guys aren't in it for the money. After all, they haven’t stopped making music or touring since 1975. Music is what they love, and they won't stop until they are called to meet their maker.
Against the wishes of all mothers, I am off to spin The Number of the Beast on vinyl!
Setlist
Aces High
Where Eagles Dare
2 Minutes to Midnight
The Clansman
The Trooper
Revelations
For the Greater Good of God
The Wicker Man
Sign of the Cross
Flight of Icarus
Fear of the Dark
The Number of the Beast
Iron Maiden
The Evil That Men Do
Hallowed Be Thy Name
Run to the Hills
Listen to my Legacy of the Beast playlist here!
Photo Credits:
Flight of Icarus / Beast: https://www.instagram.com/jossmonzon/
Band: Kurt Vile & The Violators
Venue: Queen Elizabeth Theatre
Date: August 1, 2019
Earlier this year, Kurt Vile and The Violators played two sold-out nights at the Danforth Music Hall. Soon after, Vile's management announced he would return to Toronto later in the year to play a theatre show. Originally scheduled to take place at the euphonious Sony Centre, last night's show moved to the intimate Queen Elizabeth Theatre due to slow ticket sales.
My wife and I arrived at the Queen Elizabeth Theatre, just as Jennifer Castle was starting her opening set. The line for the box office was the longest I'd ever seen before a show. By the time we got our tickets, Jennifer Castle had left the stage.
Why I bring this up is because it quickly became evident that the promoter, the venue, and sponsors gave out free tickets left, right and centre. Puzzling at first, but allow me to introduce a theory.
Kurt Vile's sprawling psychedelic jams and vagrant lyrics demand connection. If casual fans filled the Danforth back in February, this show was for the dedicated listeners. An event held for the few willing to focus and let the music lift them to a higher dimension.
For almost two hours, Kurt Vile and the Violators led us on a hypnotic journey through songs from his seven solo albums. The mesmeric Bottle it In received the most attention, with songs like "Loading Zones," "Bassawkwards" (dedicated to "J-J-J" Jennifer Castle) and "Yeah Bones."
The Violators stepped aside for a moment as Vile picked up his acoustic guitar to play an acoustic version of the mournful "Runner Ups," a tribute to a late highschool friend.
As predicted by many screaming fans, Dallas and Travis Good from The Sadies joined Kurt to perform Neil Young's "Albuquerque." This moment a special one for Vile, as he often talks about Neil Young being his musical hero and The Sadies his favourite band.
The band returned to the stage to play Vile's most upbeat songs from his repertoire, including his top-charting song: Pretty Pimpin.
To end a perfectly chill night, Jennifer Castle and The Sadies joined Vile and the Violators for Rollin' With the Flow, a cover of the 1977 B-side single by T.G. Sheppard. What I enjoy about that song (covered by Kurt Vile on his latest album) is the irony. Unlike the song's lyrics, which speak of a man living the single life while his friends are raising families, Vile (39) is married and has carved himself a reputation for being a legendary rock dad.
Kurt Vile’s music and live shows are not for everyone. His stage presence is awkward, his songs are long and his lyrics are the scattered ruminations of an anxious introvert. But if you want to clear your head and let the music take over your mind and body, then a Kurt Vile show is what you need.
Last night was a rare treat. Free tickets, courtesy of Collective Concerts, my wife as date and one of indie rock's most prolific songwriters and guitar players on stage. Plus while I didn't park for free like Kurt Vile claims he does, I did only pay $3...and that my friends, is what I call a perfect nighttime escapade.
Setlist
Loading Zones
Jesus Fever
Bassackwards(Dedicated to Jennifer Castle)
I'm an Outlaw
Check Baby
Girl Called Alex
Cold Was the Wind
Runner Ups (Acoustic)
Albuquerque (With The Sadies brothers)
Yeah Bones
Wakin on a Pretty Day
Puppet To The Man
Wild Imagination
Pretty Pimpin
Rollin' With the Flow (With The Sadies and Jennifer Castle]
Review: Belle & Sebastian at the Danforth Music Hall
Band: Belle & Sebastian
Venue: The Danforth Music Hall
Date: July 17, 2019
Belle & Sebastian are hands down the crème de la crème of indie-pop, and their reputation is only strengthened by their live performances.
Few bands manage to write more than two good albums before falling into obscurity, yet, Belle and Sebastian have a solid track record, with nine highly-acclaimed studio albums. The size of the band, of course, helps, as they are comprised of six gifted graduates of Glasgow's experimental social program for unemployed musicians. All of them contributing to some capacity. Yet, you can't dismiss the genius of the band's lead songwriter, Stuart Murdoch. His lyrics tell intricate fantasies of love, lust and loss — backed up by incredibly elaborate musical arrangements.
Two years after their last stop in Toronto, the band returned to delight an audience of almost 1500 at the Danforth Music Hall. The venue choice was an interesting one. In 2017, they performed at the Sony Centre (sold out immediately) — one of Toronto's prime venues for live audiophiles. With a sizeable floor, the Danforth offers a more laid back setting that welcomes some good ol' Canadian dancing.
The band kicked off their two-hour set with "Expectations" from their 1996 debut album. The song was resurrected in 2007 by making a mainstream appearance on the movie Juno and has proven to be a fan favourite. It was quickly followed by a few other songs like the brand new "Sister Buddha" and the chamber pop classic "Another Sunny Day."
Murdoch —whose on-stage conversations are only rivalled by those of Dave Grohl—stopped to greet the audience and joke about the dubious nature of the songs co-written by guitarist Bobby "Belfast" Kildea.
In comparison with their last show in Toronto, last night's setlist felt eclectic. The upside of their choice in songs is that they played music from every album (except Storytelling). On the other hand, their 2017 show was a cohesive crescendo that began with delicate classics and culminated as a full-on dance party. But both expectations and comparisons can ruin one's experience — and I didn't let it ruin mine.
As always, the band served the "Elton John Special" and invited a couple of dozen selfie-hungry hipsters on stage to dance while playing "The Boy With the Arab Strap" and "You're Just a Baby." Interestingly, cameras were almost nowhere to be seen until these two songs.
One moment that will most likely go down in history was their spontaneous and highly-unexpected cover of Motorhead's "Ace of Spades." You may be wondering how the heck this came about. Murdoch asked the audience if they had any requests for their encore. Some obnoxious guy asked for "Ace of Spades," and the band (minus Murdoch) obliged.
"Wow Stevie, you never struck me as a Motorhead fan," Murdoch joked.
"Sleep the Clock Around" was the second request from the audience. This time a little more serious, and a song the entire band is well-acquainted with.
"Piazza, New York Catcher" was meant to be the closing song. Murdoch looked at the clock and joked "we would keep on playing for four more hours like Bruce Springsteen, but I feel that wouldn't be nice." With three minutes left before the dreaded curfew, Belle & Sebastian decided to end the show on an ironic note with "Get Me Away From Here, I'm Dying."
Belle & Sebastian are known to put on a good show, and last night was no exception.
Band: Dwayne Gretzky
Support: The Dill
Venue: Dundas Valley Montessori School
Date: June 14, 2019
There is no shortage of cover bands in this world. They range from incredibly authentic to cringe-worthy and sometimes even venture into the bizarre (Mac Sabbath? Mini Kiss?). I don't write about cover bands often, but earlier this year Idioteque came into my radar. Their performance of In Rainbows was flawless — and warranted a full review.
This past Friday night, I was invited to attend the 7th annual Strata Montessori Adolescent School's benefit concert. Headlining that night was a cover band that has been making waves across Ontario: Dwayne Gretzky. By "waves," I mean that they went from a little-known collective to selling out every show they announce (including The Danforth Music Hall), to catching the eye of The Rolling fucking Stones. That, my friends, is worth exploring.
Dwayne Gretzky's success is due to an extraordinary ability to transcend generational appeal. Their expansive repertoire is over 600 songs deep, and they know when and how to use it. Last Friday, it was evident that the band is acutely aware of the crowd's vibe. They feed off it and adjust as needed. In other words, they know how to get you dancing.
Given the age of the crowd (let's call them the "young at heart"), Friday's setlist focused heavily on well-known dance classics like Dusty Springfield's "Son of a Preacher Man," The Supremes' "You Can't Hurry Love," and ABBA's "Dancing Queen."
Since this was no ordinary show, the band took a break to acknowledge the importance of owning our kids' education and to applaud the efforts of Dundas Valley and Strata.
Pop classics aren't everyone's cup of tea, and Dwayne Gretzky knows that. Towards the end, their music choices took a turn towards two quintessential Queen songs that are sure to please even the most snobbish of rock fans: "Under Pressure" and "Bohemian Rhapsody." Their interpretations were faithful and unassuming. Perfect for singing along.
The highlight of the evening was when Tony Evans, the school's owner and principal, was asked to join the band on stage for a song. It was a pleasant surprise for everyone, including Evans, who didn't expect the call. But, he does describe himself as a former rock-star ("at least in my mind," he says). Evans sang "With A Little Help From My Friends." His voice, raspy and unbridled. A perfect fit for the song.
To end the night, they played one of my favourite tunes from the late '60s: The Weight by The Band (For those who don't know, The Band is a band. I get asked that a lot...it's annoying.)
Before wrapping this up, I have to give an honourable mention to the opening band: The Dill. They played a few of their songs, and in classic "Dill" style, they were joined by Tom Flood for Tender (Blur cover). Kate Quigley, Lisa Savard-Quong & Steve McKay also sang backups. I've seen The Dill play many times. Friday's performance was the best I've seen. Energetic, passionate and above all, fun.
So glad the school didn't throw a "charity ball." A fundraiser rock & roll show is much more fun. Especially when surrounded by friends (oh yeah, I bumped into a lot of friends).
Band: Kevin Morby
Venue: The Opera House
Date: June 5, 2019
There are too many new basketball fans these days. Usually, I wouldn't be bothered by bandwagon jumpers, but earlier this week, they had me worried. Wednesday night was "game night," and the prospect of having to sit in traffic and potentially miss the start of a rock & roll show is not one I ever like to entertain. Thankfully, the rain kept all the new Raptors fans inside — and despite the treacherous driving conditions, I arrived alive and on time for a show I'd been looking forward to for months: Kevin Morby.
Kevin Morby is one of indie rock's best-kept secret. Despite a decade-long career and five critically-acclaimed solo albums, the mainstream hasn't caught on to his music: alleviating him of the pressure to produce music for the masses and allowing him to remain faithful to his craft and heart. This musical veracity is clearly reflected in his latest release.
In Oh My God, Kevin Morby looks to the sky with both hope and despair, asking quintessential questions about life, death and beyond. On the record, his earnest voice is meticulously complemented by an ambitiously broad sonic palette — one that could only be replicated by a larger band. And thankfully, he pulled it off this past Wednesday night at The Opera House in Toronto.
Washington Phillips' version of the classic hymn "What Are They Doing in Heaven Today?" served as the backing track as the band walked on the funeral-themed stage. Perhaps that song keeps the band humble — reminding them that they are not the only ones who wonder.
Morby's stage presence was hypnotic. He wore a black fitted suit with decadent embroidery on all sides. His outfit was reminiscent of Johny Cash's stage suits—bringing back an elegance that many rock and rollers have long forgotten.
The band consisted of a wind player (Sax, flute), mellotron, drums, guitars, bass and two female back up singers.
The first nine numbers were faithful renditions of songs from Oh My God, starting with the Dylan-esque "Congratulations." The band quickly shifted gears and played three hushed songs before transitioning into the searing "OMG Rock & Roll." Other standouts from the new record were the incendiary "Seven Devils," "No Halo," and the nostalgic "Nothing Sacred / All Things Wild."
"Beautiful Strangers" kicked off the second part of the set. An emotional peacenik protest anthem against guns, and a solemn reminder of the tragedy in the Bataclan. Morby called it his “love song to the world.”
"City Music" quickly lifted the mood — a sprawling jazz tune about the sounds of the city.
For "Dry Your Eyes," Morby stopped to address the crowd (up until that point, he only stopped briefly acknowledge how grateful they were to know the people in the room chose them over the Raptors). He asked the audience to part in half and got a couple to slow dance within that space. It was a fun break!
"I Have Been To The Mountain," "Cut Me Down" and "Dorothy" followed, before a very brief interlude leading up to the encore.
Morby and the bass player came back from a minute break wearing Raptors t-shirts. "This is the first time I wear a t-shirt on stage in a long, long time!" Morby proclaimed, before bursting into "Parade" and finally, "Harlem River."
Kevin Morby's performance at the Opera House was both intimate and euphoric. A quasi-religious experience that transported us to a higher place through a strong emotional connection to the music. All this to say: it was a show I’ll never forget.
Thank you Raptors fans for not clogging the streets, and thank you Kevin Morby and the Oh My God band for an unforgettable performance.
Venue: Budweiser Stage (formerly the Molson Amphitheatre)
Date: May 20, 2019
At a time when rock's greatest had let us down, a band of overprivileged, bored misfits from New York saved rock & roll from its ever-eminent demise. Between 2001 and early 2007, The Strokes dominated the indie rock revolution with a string of solid albums that channelled the angst all jean-wearing rockers — young and old — felt at the time.
In 2006, they stopped in Toronto twice to play Ricoh Coliseum in April and Olympic Island in September. Fourteen years since their last show in The Six, they finally returned to kick off the shamelessly corporate Budweiser Stage Opening Night 2019: a celebration of overpriced canned piss (with a dash of rice, for the Bud cicerones out there).
The Strokes are known for their dry and ironic sense of humour and only waited one song to point out Budweiser's shameless and excessive obsession with their lame beer. But I am getting ahead of myself here...let me back up to a warm day in March.
When The Strokes announced their return to Toronto back in March, I knew this was a show I had to drag my wife out to. See, rushing to put the kids down, driving through suburbia into a poorly-planned city to stand for three hours while draining our life-long savings on shitty beer isn't her idea of fun. But. There is a but...The Strokes are her favourite band. So, we did it.
And sure, before the show started, she swore this would be her last concert ever (The opening band didn't help my case. ROMES sound like the birthchild of the Jonas Brothers and Maroon 5). Thankfully, a few notes shredded by the stylish Albert Hammond Jr. and a glimpse of Julian Casablancas' awkward mullet was all it took to change her entire outlook on life.
Allow me to tell you all about it.
Bright 80's-TV-inspired pixels on a giant screen lit up to introduce the night's featured musicians: Julian Casablancas, Albert Hammond Jr., Fabrizio Moretti, Nick Valensi and Nikolai Fraiture performing as "The Strokes." Very quickly the retro screen was replaced by even brighter strobe lights, and the explosive riffs of "Heart in a Cage" overloaded the speakers of the ageing venue.
The first five songs would have been enough to allow the casual fan to die happy. Typically a song reserved for the encore, "You Only Live Once" was the second song of the night. That was followed by "Ize of the World," "The Modern Age," and "Hard to Explain."
Speaking of which, I do find it hard to explain why the next song on the setlist ("Happy Ending") was the one everyone chose to go to the bathroom when the one that followed was..."Meet Me In The Bathroom." One would have thunk that the lyrics of the latter would prompt the beer drinkers to run to the bushes.
The trend of hits (sprinkled with a dash of rarities and a cover) continued. Standouts included the anthemic "What Ever Happened?," "Reptilia" (first time played in 5 years) and of course, "Last Nite."
Let's backtrack a little. Earlier in the show, Julian told the story of their experience at the Raptors game the night before. As Nikolai, Fab and Nick were Instagramming pictures of themselves enjoying the jaw-clenching game of ball, Julian was assuring Albert that the last five minutes of any basketball game are the only ones that matter. But when they showed up to the Scotiabank Are three minutes before the game ended, security reprimanded their tardiness by not allowing them in.
Julian dedicated "New York City Cops" to those security guards.
I only bring this up to illustrate the sort of banter that intertwined in the performance. Awkwardly delivered critiques of corporate greed (Budweiser! Get the hint!) and stories of misguided assumptions about basketball balanced the near-perfect delivery of the nineteen songs.
I may have also decided to bring it up to insert my own rent-a-cop story. Security was more relaxed than usual at the venue (or perhaps they were busy managing the first cannabis-friendly show at Budweiser Stage), so instead of hearing about the show second-hand from our general admission section at the very back of the venue, we enjoyed it from the comfort of a nook closer to the stage. In the past, that sort of defiance would result in constant requests from security to return to the back. But last nite they didn't say anything.
The crowd was what you would expect from almost any Toronto show, apologetically enthusiastic — frozen at times. But this time they had an excuse to be frozen, as the temperatures were nearing the ungodly range that night.
The encore was short but dance-worthy: "Is This It" and "Someday."
And with a sky glittering with fireworks, Marissa and I held hands as we walked a thousand miles to the car, reflecting on my wife's self-proclaimed last show on earth (until Belle and Sebastian in the summer. She forgot about that one.). In my opinion, the night was perfect. Well worth the $150.
Review: Nick Mason’s Saucerful of Secrets at the Sony Centre
Band: Nick Mason’s Saucerful of Secrets
Venue: Sony Centre for the Performing Arts
Date: April 17, 2019
Photo: Joss Monzon
Between 1967 and 1972, Pink Floyd released seven phenomenal albums that are not talked about enough. When on tour, Roger Waters and David Gilmour rarely play songs from that era — and when a touring musician for Gilmour’s band proposed they played a song from the album More, he was kindly (jokingly?) asked to find another band.
So when I heard Nick Mason — the drummer and the only member who was there from day one — announced a tour that would focus solely on the music from Pink Floyd’s early days, I knew I had to see it.
Dubbed “Nick Mason’s Saucerful of Secrets,” Mason and his band performed at the Sony Centre this Tuesday night.
Toronto shows are always stressful but thankfully the kids went to bed on time, and I got there faster than expected. So fast, that I had time to go to the liquor store for a beer, enjoyed it on my way to the venue and still made it 10 minutes before the show started.
Once there, I met up with the man who got me into Pink Floyd in the first place — my uncle, Joss.
Even before the show started, the Sony Centre was buzzing with genuine excitement. Every single human in that auditorium was a die-hard Pink Floyd fan. They had to be! Because similarly to bands like Rush, the material from the first few Floyd albums is not for everyone. Psychedelic. Progressive. Even weird. But absolutely brilliant.
The band hit the stage promptly at 8:30 and kicked off the show with "Interstellar Overdrive" and "Astronomy Domine." Both considered the earliest examples of psychedelic jams, written by Syd Barret and released on their first album: The Piper at the Gates of Dawn.
Nick and the band took a short pause to tell the story of their last visits to Toronto: July 1994, September 1987, and March of 1973. Nick politely asked the audience if anyone had attended the 1973 show. Someone did yell. He looked directly at them and said: "I don't recognize you, but then again, there are days when I can't recognize myself either so let's carry on with the time machine..."
The band moved on to perform songs from Meddle and Obscured by Clouds, before taking a moment to pay tribute to Syd. For those who don't know who him, Syd Barrett was the band's original songwriter and guitarist. A prolific flashing genius who faded out of the spotlight after being consumed by LSD in the early years of the group. To remember Syd and honour his legacy, they played "Remember a Day" who bassist Guy Pratt described as "a song about simpler times, written by my daughter's grandfather (the late keyboardist Richard Wright).”
Another highlight was the inclusion of "Vegetable Man." This song was recorded in 1966-1967, but it never made it on their debut album. And while low-quality bootlegs circulated for decades, no official release existed until 2016. The song was first performed live in 2018 in Europe by Nick Mason's Saucerful of Secrets.
A bit later, the band played "The Nile Song." This song is quite peculiar for many reasons. The first is that the band recorded it for the More soundtrack in 1969 — so while the album was released as Pink Floyd, its sound was less psychedelic and more... rock & roll. The second is that it is a heavy song. In fact, it's heralded as the heaviest song ever recorded and released up until that point, with music writers describing it as "hard rock," "acid rock" or even"heavy metal." Heavy metal? It was 1969! But somehow it was neglected and never performed live (until 2018). The experience of seeing this rare song performed live was surreal. Especially considering the song was recorded as mono and a proper stereo version never existed.
"One of These Days" was the last song of the first set — which is worth highlighting, as it's probably the only song of the set that I had seen live before — performed by Roger Waters in the fall of 2017. Interestingly, the words in this mostly instrumental piece are probably the only example of Nick Mason taking the microphone during his time with Floyd.
After a brief break, the band returned for two more songs.
It was obvious that Nick felt tired. The man had already masterfully performed for two hours — never missing a beat. And while it looked like he was struggling to go up the steps to his kit, the ending was triumphant.
What an unforgettable night. And it didn’t end there.
After the show, I noticed some people waiting by the tour buses. Since a basketball game had just ended and well, traffic was going to be a nightmare, I waited around too. Sure enough, security set up a barrier, and Nick came out to greet us. I didn't have anything for him to sign, so I pulled out my crumbled up printed ticket and took that as an opportunity to ask him a simple question: "Nick, how are you?" and he responded in the tone of a proper English man: "I am afraid I feel rather cold."
That is the last time I'll probably see Nick Mason (he is 75), but I'll always cherish the memories of the incredible show and the few seconds we connected.
Setlist
Interstellar Overdrive
Astronomy Domine
Lucifer Sam
Fearless
When You're In
Remember a Day
Arnold Layne
Vegetable Man
If / Atom Heart Mother / If (Reprise)
The Nile Song
Green Is the Colour
Let There Be More Light
Childhood's End
Set the Controls for the Heart of the Sun
See Emily Play
Bike
One of These Days
Encore
A Saucerful of Secrets
Point Me at the Sky
Listen to the setlist on Spotify >
Note: Nick Mason’s Saucerful of Secrets is: Nick Mason, Dom Beken, Lee Harris, Gary Kemp, and Guy Pratt.
For a while, we've been hearing rumblings of Sub Pop Records signing a masked troubadour promising to bring back classic country, with a twist. This January, Orville Peck made a stop in Hamilton as part of Exclaim! Magazine's Class of 2019 concert series. For one reason or another, I couldn't make it, but I remained curious.
Orville Peck's identity is a mystery, but through interviews, we know that his background spans beyond alt-country. The man behind the mask worked as a professional actor in London, played in punk bands and is very vocal about his admiration for artists like Willie Nelson and Sonic Youth (both of which are very distinct). And let's not forget the praises he has received for his impressive vocal range.
And his backing band is Toronto's post-punk quartet FRIGS.
The perfect recipe for a remarkable show, right?
After a miserable cold and rainy day, I put the kids down, drove to the opposite end of the city to play a soccer game and headed to The Casbah right after to see The Dill open up the night.
As usual, The Dill put on a great show. But I was heavily disappointed by the sound mix. Dylan's vocals on one of the two microphones were drowned by the instruments and some frequencies on the EQ should have been tweaked to bring out his voice.
After The Dill's set, classic country music and the smell of popcorn filled the room — and helped build up a mood of anxious anticipation. Everyone seemed curious to see this crooner perform in such an intimate space.
At around 10:15, the lights went out, and cowboy hats could be seen making their way to the front through the audience. After a few awkward moments of complete silence, the cowboy spoke: "Hi, I'm Orville Peck."
For about an hour, Orville and his band played the most popular songs from his debut album, including "Turn To Hate," "Dead of Night," and "Winds Change."
Orville's aura is undoubtedly mysterious and his vocal range impressive. Both of those make him stand out in today's crowded alt-country scene. But while the masked troubadour sang with great conviction, the music felt void of any strong emotion or surprise.
The culprit could have been the poor mix, or simply an off night for the band. Or maybe my expectations were too high. Regardless, I am glad I ventured through the rain to see what this cowboy was all about.
For every successful band, there are probably dozens of cover bands. Just Google “AC/DC cover band” and you’ll see what I mean. But then there is Radiohead. One of the most influential and successful alt-rock bands of the last 30 years. In all this time, only a handful of bands have been bold enough to cover their catalogue — especially any music released after OK Computer.
So when I heard a Canadian band by the name of Idioteque was coming to Hamilton to perform In Rainbows, I had to see it for myself.
Last night was Idioteque’s third time performing in Hamilton since their inception two years ago, but their first time playing at the intimate Mills Hardware. Although some tickets were still available at the door, the place was packed. The show was split into two, 10-song sets. The first set covered every era in Radiohead’s career and the second focused on In Rainbows.
I've always said that the most essential part of an extraordinary live performance is an artist's ability to connect at a visceral level with the audience. But when covering another artist's songs note-for-note, that connection can quickly be compromised.
From the opening song (”Burn The Witch,” 2016), it was evident that the six-piece band was going to live up to their promise to remain faithful to the original music. The level of care put into ensuring even the tiniest details of the songs were captured was absolutely incredible.
What made Idioteque stand out, even more, was the emotion put into their performance — most evident through Don Scott and Jessica Stuart's electrifying stage presence. Don's vocals on "Nice Dream" were as delicate as Thom Yorke's. Jessica's guitar melodies on "Pyramid Song" were just as haunting — or even more. And the third verse of "Paranoid Android" was absolutely explosive (but the ethereal harmonies of the last verse quickly shifted the mood to a more sombre one).
Then there was In Rainbows. Probably the most beloved Radiohead album in recent years — praised for being musically intricate while remaining accessible to the passive listener.
In Rainbows is a truly immersive album — especially live — since that high level of sonic complexity is hard to faithfully re-create through a stereo. Note-for-note, Idioteque ignited a deeper level of appreciation for that album.
The audience was quiet and attentive. Maybe because just as few dare to cover Radiohead, only true music lovers dare to see such an emotionally charged album being performed live. Or perhaps Idioteques’s magnetic stage performance and musical virtuosity were too hypnotic to look away.
Music biopics are always a hit and miss. My favourites are probably Control (Joy Division, focused on Ian Curtis), I’m Not There (An artistic tall-tale of Bob Dylan’s life), and Ray (Ray Charles). Recently, I found Bohemian Rhapsody to be more of a miss. And today I am writing about the latest miss: Mötley Crüe’s The Dirt.
For those who haven’t seen it, this film is based on Mötley Crüe’s 2001 biography by the same name. The movie chronicles the band’s notorious reputation as the archetypical 80′s glam-rock cliche: reckless unprotected sex, excessive use of drugs and arguably rock & roll.
Before getting into the reasons why I thought it was a miss, lets talk about what I did enjoy. The band is played by Daniel Webber (Vince Neil) Douglas Booth (Nikki Sixx), Colson Baker (Tommy Lee), and Iwan Rheon (Mick Mars). In my opinion, the casting was superb. Each of the actors looked very much like the people they were portraying, and the acting was strong. None will win any awards for it, but they played their role well, and that's worth commending.
The soundtrack and how music was played up in the film was also outstanding. Instead of jamming as many songs as humanly possible into two hours, each song seemed carefully curated and was given enough play time to be enjoyed with as little interruption as possible. Sometimes as background music and sometimes as a live performance.
Here is where things went wrong. The entire movie felt like a PR stunt to clean up the tarnished reputation of the band. A failed attempt to portray the band as a group of misguided young men who sought to clean up their lives after hitting rock bottom.
In reality, the debauchery that Mötley Crüe was infamous for in the '80s was one that made Led Zeppelin's wild years seem tame — and nothing to be proud of. Around the clock drunkenness, excessive use of hard drugs, lewdness and a total disregard for others' lives or properties. Now, I am merely stating the known facts without judgement, but what bothered me the most was the disconnect from reality.
I didn't want to see more of the excess, the girls or the recklessness, but it's worth pointing out that while the movie ends with the band sobering up and living happily ever after, it does overlook the fact that even after seemingly hitting rock bottom, some of the members of the band continued with their bad habits. Take, for example, Vince Neil's two subsequent DUI charges in 2007 and 2010. Or Tommy Lee's 1998 arrest for physically assaulting Pamela Anderson. Then there is the troublesome confession that Nikki Sixx recanted of him and Tommy Lee raping an unconscious woman.
To be fair, it does seem like in their later years, most band members have stayed out of trouble.
I would have liked to see more of the songwriting process and dynamic of the band. Or more of the stories that inspired the music. Take, for example, the opportunity to dive deeper into Mötley Crüe's poignant Theatre of Pain or the darker Dr. Feelgood. Both of which — in my opinion — serve as the redeeming albums of a band whose music often leaned on cliches.
It checks out. In this #metoo era, bands whose musical legacy was overshadowed by their disregard for others become problematic. Biopics can be an excellent way to please the fans while seeking the pardon of the critics. But The Dirt just didn't feel sincere.
Review: Kurt Vile & The Violators at The Danforth Music Hall
Band: Kurt Vile & The Violators
Support: The Sadies
Venue: The Danforth Music Hall (Toronto, ON)
Date: Feb 16, 2019
Instead of the usual rush to the venue after putting the kids to bed, I was able to leave Hamilton at 4PM last night to grab a quick bite before heading to The Danforth Music Hall. On the bill: none other than Kurt Vile & The Violators, and The Sadies.
The Sadies
Even if their music is tight, opening acts usually get the crumbs from the headliner’s table: a half-ass sound mix, an uninterested chatty audience and a set often too short to get into. That was certainly not the case with The Sadies.
The Toronto-based quartet has been around for over two decades, during which they have played alongside Canada’s top acts such as Neil Young, Gord Downie, Neko Case and members of Blue Rodeo. Kurt Vile has often described them as “one of [his] favourite bands” and “my best friends Sadies.” Last night marked their first show at The Danforth Music Hall, and I am confident it’s a night they’ll remember.
During their one hour set, the band ripped through 16 hits and some rarities, including “Cheat,”“Another Year Again,” “and “The Good Year.”
It’s hard to pigeonhole The Sadies sound, as almost every one of their albums has pushed the band in different directions, but one thing is certain: whether playing rock & roll (”Leave Me Alone”), country ballads (”God Bless the Infidels”) or epic instrumentals (”10 More Songs”) they got the audience’s undivided attention and praise.
Kurt Vile joined The Sadies on stage to close their set with "It’s Easy (Like Walking),” a collaboration from their 2017 album Northern Passages.
Listen to the setlist on Spotify>
Kurt Vile & The Violators
Kurt Vile's eight studio release Bottle It In was one of my favourite releases of 2018. A gutsy combination of incredibly psychedelic guitars, stream of consciousness lyrics and a smooth, bad-ass dad attitude. This show was one I'd been looking forward to for a while.
“Yeah!,” Kurt awkwardly declared as he picked up his guitar. Seconds later, The Violators began the first of two nights at The Danforth with “Loading Zones,” their catchy lead single from _Bottle It In. _A song about living dangerously by parking in dubious spots around Philadelphia while avoiding the city’s parking authority.
Last night’s setlist drew exclusively from Bottle It In and Kurt Vile’s three other most recent solo albums: Smoke Ring for My Halo (2011), Wakin on a Pretty Daze (2013), b'lieve I'm goin down...(2015). Some highlights from the first set included the 10-minute psychedelic jam “Bassackwards,” the “little political” “Puppet to The Man” and “Skinny Mini.”
After a short break, Kurt and the guys returned to end the show with three more songs. First off, the mega-hit “Pretty Pimpin,” which he dedicated to “my best friend Sadies...your Sadies from Toronto, but mine for the next few weeks.” Then slowed things down with the mellifluous “Mutinies” and "Baby’s Arm”. The latter was “for, but not about” Aaron Brody, their tour manager and FOH engineer.
Behind the veil of Kurt’s quirky stage presence and long curly hair is a meticulous genius whose music is extremely precise and whose voice is deliberately idiosyncratic. It’s the combination of Kurt’s signature hypnotic arpeggios, offbeat vocals and poetic lyrics about the mundane backed up by a band of fellow sonic misfits that makes Kurt Vile & The Violators so captivating to watch. And you could tell I wasn’t the only one who wouldn’t look away. The entire audience was absolutely taken by Kurt and the band.
And hey, Kurt is a fellow rock dad...so what’s not to love!
While most parents of young children were settling in for the night, a group of Rock Dads was gathering at This Ain't Hollywood to start their Saturday night. Let me tell you about it.
By looking at the lit marquee or the poster, you'd assume all the bands on the bill were less known: Mount Cyanide, Future Now and Not Of. A second look at the poster or a quick Google search will reveal the masterminds behind those bands. It makes sense. The legendary Hamilton is known for hosting low key shows of big-name acts (Anvil, Monster Truck and the Arkell's...if you're into pop rock).
Mount Cyanide
Mount Cyanide is a new black metal supertrio formed by the members of Biblical and The Illuminati (Nick Sewell, Jim Gering, Christopher Blackwell). I walked into the venue as they were hitting the stage, and right away I was struck by the incredible sound mix. Instead of the deafening sound that is synonymous with metal, the mix was balanced and clear. Let's face it, a lot of sound guys in indie venues are deaf, but not at This Ain't Hollywood.
Mount Cyanide's music follows the blueprints of black metal: double kick drums, low roaring vocals, heavily distorted guitars...but with a noticeably distorted bass guitar. The most enjoyable part of their music was the prog rock and early metal influences throughout.
Instead of seasoned metal heads or teenagers in black hoodies, the audience was mostly musicians, producers, venue operators, music journalists and even guitar makers. The music was extremely well received.
Future Now
Another supergroup owned the coveted middle spot. Future Now is Ian Blurton's new band. For this venture, he recruited to Aaron Goldstein (guitars), Anna Ruddick (bass), and Glenn Milchem (drums).
For those who don't recognize the names, all you should know is that they are the most sought after session musicians in Canada. Aaron Goldstein's fingerprint is on three albums nominated at this year's Junos. Anna Ruddick is credited on albums by Wintersleep, Randy Backman, Spencer Burton. Two days from now, she'll be playing alongside Terra Lightfoot here in Hamilton. Then there is Glenn Milchem, a restless drummer, best known for his work with Blue Rodeo and Holy F**k.
Four virtuosos on stage can either be mind-blowing or disastrous, but thankfully, in this case, it was the former. Ian's leadership was clear from the moment he walked on stage. While band member played intricate parts that formed a wall of sound, they never overshadowed Ian's guitar riffs — focused around mid tones that cut right through.
Many of the musicians in the crowd were fascinated by the elaborate yet contagious riffs. The packed house couldn't stop headbanging, foot tapping or playing the air guitar.
In between songs, Ian commented on the faint sound of music coming from upstairs. Someone yelled, "It'sThe Arkell's practicing upstairs!" He was not impressed with whoever was playing upstairs and seemed somewhat confused. Perhaps he didn't know who the Arkell's are. Maybe he doesn't need to know.
Not Of
The headliner was Not Of, Toronto's hottest rock duo led by Broken Social Scene's John Crossingham. Although they call themselves noise rock, their sound was more melodic than expected, which kept it exciting. Think early punk (Stooges, Talking Head) mixed with 2000's rock (Black Keys, White Stripes, The Vines) and a little early Green Day.
A veteran rock fan at the bar turned to me and commented: "I guess you don't always need a bass to play Rock." She quickly followed up with "I mean, The Doors didn't have a bass player." And she wasn't wrong. Not Of didn't need a bass player to rock the house.
As a seasoned concert goer, I keep a handful of earplugs in my car — but I forgot to grab a pair on Saturday. While not extremely loud, the night lasted more than three hours. My ears are still ringing, and if it's a sign of impending hearing loss, it makes sense I'd record these memories. Was it worth it? I'd say it was an unforgettable night.
Artist: Better Oblivion Community Center (Phoebe Bridgers and Conor Oberst)
Album: Better Oblivion Community Center
Release: January 24, 2018
Last night, Phoebe Bridgers and Conor Oberst visited Colbert to debut “Dylan Thomas,” one of the most upbeat songs from their debut LP as a duo: Better Oblivion Community Center. The album dropped almost right after. These are a tired dad’s late night thoughts.
In a world too busy to stop and think about feelings — let alone talk about them — locking yourself in your bedroom in solemnity to write morose songs seems almost monastic. And for the last twenty years, our generation has delegated that task to Conor Oberst. Most recently, Oberst has crossed paths with Phoebe Bridgers — a young songwriter with the same affinity for sulking in dark thoughts and singing about them. What's funny is that both of them seem happy, and are often surrounded by very talented friends. Don't believe me? Check out the credits of all their recent albums.
I was fortunate enough to see Conor Oberst in 2017, and Phoebe Bridgers opened the show. She joined him on stage to perform a duet version of Lua — which isn't uncommon — as Oberst tends to play that song with a female voice whenever possible.
Before getting into some of the songs, in classic Conor Oberst style, this album is packed with contributions from extremely talented friends like Nick Zinner from the Yeah Yeah Yeah’s, Jack White’s drummer (And Bridgers childhood friend) Carla Azar...among others. These cameos may have contributed to the record’s positively eclectic dynamic sounds and helped the duo break free from their folk-rock roots.
The album starts notably mid-strum, with a ruminative narrative of triviality — a curious Bridgers observing society's superficiality while contemplating what lies under the surface and the meaning of it all.
Very quickly you can tell this isn't a fireside acoustic album. In fact, it's rather eclectic, which I enjoy, as it keeps the listening experience more interesting.
"Sleepwalking" sees Conor and Bridgers taking turns leading the verses and meeting in the chorus with delightful pop harmonies "Service Road" follows with Oberst's voice cracking with emotion as he pleads a friend or lover to use honesty to
"Exception to the Rule" is the most experimental song on the album, introducing electronic drums, loops and spacial synths reminiscent of Oberst's foray into electronic music. Yet, the lyrics remain on brand.
"Cheasepeake" and "Big City" wrestle with different aspects of invisibility, expressed in different musical styles and tempos.
The album ends with "Dominos," a vivid description a drunken night's aftermath. A still drunk man walking home in contemplation, frantically seeking the truth. Finding purpose.
Our world seems to be full of shit. And Better Oblivion Community Center may not bring the hope we so desperately need, but it does articulate the hopelessness and fear we are too busy to express ourselves. And they do it beautifully together, through song.
As a parent of young children, the idea of going to a late night show — especially in the city — can be intimidating. But, once you get into the club, you quickly forget that the next day is always an early start. Wayne is a friend of mine, and Cuff the Duke puts on a solid show. That was my rationale. And I was right. It was worth the drive and the late night. Let me tell you about it.
Cuff the Duke released six solid albums between 2002 and 2012. Then there was silence. For almost six years, little was heard from the band. There were even rumours of a split. The truth is, the band simply took some time to focus on other ventures, and starting in 2018, they've been playing the odd show — including a headlining b-stage slot at the Riverfest Elora festival.
Last night marked the second night at Toronto's Rivoli, a small club in the Queen West Area. Both dates sold out.
Hamilton's Dan Edmonds opened the show with a string of songs reminiscent of Dylan's later suave ballads. His smooth three-piece backing band provided a soft backdrop to Edmond's calm voice. Before leaving the stage, Dan declared in an earnest tone, "you're in for a treat. [Cuff the Duke] are sounding sound really tight."
Cuff the Duke was warmly welcomed to the stage at 11:00 PM by a crowd of faithful followers — most of whom had waited years to see them perform live. The fans' level of devotion was unequivocal. From the opening lines of "Live My Life" to the contagious cries of their last song, "Ballad of a Lonely Construction Worker," the people around me sang along to almost every lyric.
Alt-country may be their given genre, but the band was not afraid to break the walls of sonic labels often stretched songs into hypnotic jams that saw lead singer and guitarist Wayne Petti shred with incredible passion. His guitar tones moving away from twang and perhaps leaning more towards harder dreamy 60's Fender tones.
The band moved through songs almost uninterrupted for more than half of the show. Never missing a note. Then came a few songs dedicated to their children, their manager, their early promoter and Joey, the merch guy (a friend of the band). But one dedication that stood out was "Rossland Square."
"I can't imagine Oshawa without GM. And I hope GM can't imagine itself without Oshawa," declared Petti, before going into the tribute to their hometown. The song served as a fitting emotional homage to the thousands of workers who will soon lose their jobs at the Oshawa GM factory.
The hits continued, with favourites such as "Count on Me" (dedicated to Petti's two children) and "Take My Money and Run." Both dance-worthy sing-alongs.
But while the entire band played equally tight, bassist Paul Lowman became the focus of many cheers and chants. The first came after Wayne admitted that Paul wanted "I Guess This is Life" included as part of their 2009 LP but eventually didn't make it in. The song was later released as a 7" single and was quickly embraced by fans. Paul was right. Later on, Paul ditched the bass and picked up the fiddle for "If I Live, or if I Die." His performance was absolutely electrifying.
The band finished the show with the emotional sing-along "Ballad of a Lonely Construction Worker."
All in all, it was an hour and a half of solid rock that was well worth the drive and the late night. After the show, I got to speak to Wayne and AJ. Both felt good about the show. Dan Edmonds was right. Cuff the Duke is sounding really tight.
Some may say I am a walking stereotype and perhaps I am. Every morning I am woken up by our youngest child, who we co-sleep with. He goes from zero to a hundred faster than a Bugatti Veyron and starts his day by pulling my long wild morning hair. Soon after, our two girls join the morning party and the daily routine begins. Teeth, outfits, hair, breakfast. My wife and I run on four to five cups of coffee a day.
Unlike some dads, I don't have to dress up in a formal costume to go to work — but I do have some sort of self-imposed uniform. A band shirt, jeans that are too tight, leather Converse, Ray-Ban sunglasses and when the sun is shining brighter, I wear my iconic leather sombrero.
Short of the minivan, I could be a stereotype. Another coffee-drinking, back-aching millennial father that should grow up, cut the damn hair, toss the band shirts, yank the earrings, cover up the tattoos, believe the "rock is dead" bullshit and stop going to shows. But to be honest, my uncool rock & roll fatherhood is a reality I love and fully embrace.
It's been 15 years since I attended my first concert. Since May 13, 2003, I've attended hundreds of shows — and will probably continue to do so until I am called to meet my maker. I am now a father of three and this life-stage has made me appreciate life, rock music and concerts more than ever. It has also allowed me to connect with a seemingly underground society of rock dads: fathers who are somehow actually allowed to listen to their music at home and go out for a show, a pint...or both.
My wife is one that all my rock dad friends consider "so cool" because while her idea of fun isn't rushing to a concert venue after putting the kids to sleep, going to bed late and having to wake up at six thirty, she accepts that music is my passion. And when I am not at a concert and need an escape, I have a bar in the basement with an old high-fi stereo, fancy speakers, my favourite records and a few guitars to play around with.
As a father, I tend to reflect on the long-lasting influence rock music had during my formative years and wonder how music will influence how my children will turn out. In high school, I always felt un-cool. I didn't listen to the top 40 on the radio, I didn't wear the latest fashion, and I was incredibly insecure. Rock & roll music became a refuge from the raging storm of teenage angst. The music I listened to connected me with other people who also felt the same as me. But there weren't many of us.
Music is such an incredibly personal form of art — one that is perhaps more intimate than any other. In a recent Pitchfork article, the author suggests:
Music is physical: We take it into our bodies, we allow it to vibrate our skulls. In this way, it is far more intimate than visual art; after all, we respond to sound in utero well before we respond to sight. We store memories of music in our limbic system, next to all of our most treasured and traumatic experiences. It moves within us.
This is the realm of the subconscious, and listening to a recorded song is not unlike a lucid dream. In both states, your brain waves even out and you become pliant and suggestible, a wide-open expanse of receptivity.
While I am yet to understand the science behind how music affects us (About to read a book called This is Your Brain on Music), I can tell you that it has in many ways helped shape who I've become as an adult. It has helped articulate feelings that I otherwise wouldn't have known how to express. It has connected me with wonderful people who share the same passion. And it has helped me become more empathetic.
Music consumption is at an all-time high, but I can tell you that very few people are sitting down, putting the phone away and listening to music as an activity. For me, listening to music — be it live, on a record or through my headphones — is an intimate and euphoric experience that takes me out of reality and into a different world.
I hope that my children see past my un-coolness and grow to appreciate the beauty that music can bring into our lives and that it helps them connect: with the artists, with their own feelings and with others.
With 2019 right around the corner, this seems like the perfect time to reflect on what felt like a great year for rock music. Before I go into my top albums of the year, let me back up a bit...
2018 was a year of many firsts. Early in the year, I decided it was ok to once in a while attend concerts alone. I expanded my musical palette and got into some new bands. And I also started listening to more bands with incredible female leads — something that rock needs more of.
While crafting this list, I noticed a curious pattern. I lean towards artists who exude an "I don't give a fuck" sort of vibe. It doesn't get more rock & roll than that.
Here are my top albums of the year, in order of release.
Artist: Courtney Barnett
Album: Tell Me How You Really Feel
Release date: May 18, 2018
Courtney Barnett is so cool. And I say that unapologetically, gushing over an incredible ability to elevate the most relatable yet sometimes unspoken everyday thoughts into the realm of poetry. Add some raw energy and crank it up to 11 at just the right time and you've got what I would say is the album today's rock & roll needed.
This record is different from anything she's released in the past, musically leaning more towards grunge, while keeping her unique signature lyrical style.
This year I also got to see her live, but that's another story...
Artist: Tracyanne & Danny
Album: Tracyanne & Danny
Release date: May 25, 2018
This is the most obscure album on my list. Critics praised this album (Pitchfork wrote an excellent review), but somehow didn't make many tops lists. But who cares. It made mine!
Tracyanne & Danny’s self-titled debut album marked Tracyanne Campbell’s relatively quiet comeback to the music scene after a three-year hiatus. This time in collaboration with Brittish musician Danny Coughlan.
Tracyanne has an incredible voice, and her frank and often sarcastic lyrical style that she built her reputation on has spilled on to this album. Danny contributes a warm retro feel that nicely plays off Tracyanne's vocals.
And did I mention I got to talk to them this year? You'll have to read my concert review to hear that story.
Artist: Kurt Vile
Album: Bottle It In
Release date: October 12, 2018
Early in the year, I received a late night text from my friend Greg, pointing me to Kurt Vile's Ring for my Halo. First, I checked out a few of Vile's live performances and later that night put on the record Greg had suggested. I felt instantly hooked to his music.
Bottle It In is a far departure from his 2015 release B'lieve I'm Goin Down..., which brought Vile into the limelight. Incredibly psychedelic guitars, stream of consciousness lyrics and a smooth, bad-ass dad attitude.
Bottle It In was the perfect album from 2018 for any chill boozy night. Especially if you are a dad.
Artist: Jeff Tweedy
Album: WARM
Release date: November 30, 2018
Jeff Tweedy is one of the most honest lyricists in rock and roll today. Not because he recently released a remarkably frank memoir — but rather because whether or not he is talking about himself in songs, his lyrics are sung with uncanny sincerity.
"We all think about dying" is a brutally honest line that resonated with me. My mortality is a reality that, despite my faith, has haunted me ever since my first daughter was born. But the lyric is followed by Tweedy's advice to his son: "Don't let it kill you."
Musically, it's chill, twangy and just the right amount of whimsical. Like others on my list, Tweedy isn't afraid to be himself, even if it calls for vulnerability.
Artist: Miles Davis
Album: Kind of Blue (Blue Vinyl Special Edition)
Edition release date: Oct 19, 2018
Original release date: August 17, 1959
First released in1959, Kind of Blue is easily jazz's most well-known album. Its thematic ambiguity leaves the music open to interpretation and allows the listener to go on a journey to a different world — every time. Since 2005 (I checked) this has been my go-to album whenever I've needed an escape from my first world life's harsh realities.
While I own 10 Miles Davis CD's, I've only had digital copies of this album. Until this year. And one happens to be blue!
Well, that’s it for this year. I didn’t mention Death Cab for Cutie’s new album — because while I liked it a lot, it’s not an album I connected with beyond casual plays.
