SLCR #268: Bif Naked (November 8, 2016)

November 14, 2016

When I bought the ticket for this show, I didn’t realize that it was on the same day as the US Presidential election. I was well aware of both dates for some time, but somehow it took until the day before for me to piece together that the election’s November 8, 2016 and the concert’s November 8, 2016 were, in fact, the same day. I had already decided not to watch election results, so I was thankful to have the distraction.

Needless to say, I spent much of the show on my phone. I also thought the show itself was only okay, but it’s pretty hard to tell how much of that was the show and how much of that was my worsening mood as the night progressed. I had big plans of coming home and writing the review right away while it was fresh in my mind, but instead we watched the news and said a bunch of things about our southern neighbours that didn’t make us feel any better.

You don’t read these for my political opinions (one wonders why you read them at all) so I will just say that I will hope against all logic and reason that the next four years are mostly okay and not the racist, misogynist, transphobic, anti-immigrant pants-shittingly reckless dumpster fire that this campaign and Trump’s entire life would lead one to expect.

We had a trip to Nashville planned for this coming August, but we haven’t booked anything yet and we’ll be re-evaluating this choice in a few months. If you caught me on election night, I was a hard “no,” but… total solar eclipse? On my birthday? That I’ve been anticipating for seriously like 30 years? I’d be really disappointed to miss it. But I also recognize that “having to vacation somewhere else” is a pretty petty concern when I think of what this election could mean for a lot of people.

Also, to any American readers, yes, we have a guest room, but Mika says that I’m only allowed to offer it to my gay and/or brown friends. My straight white American friends have to stay behind and fix shit. I don’t have a firm answer as to whether she’s also offering guest room amnesty to my American Jewish friends, and I don’t think she’d appreciate me waking her up to fact-check this.

I like how “I will just say” was followed by three paragraphs.

So! Bif Naked. I became a fan through Kristin, but that was a long time ago. I’ve seen her twice, back in 2000 and 2001. Pat was at the 2000 show and told me all about how he wanted to go to Fiji. I remember that conversation (Boolah! Ramram!) but forgot that show ever happened. I did remember seeing Bif with Kristin in 2001, only I thought it was in Winnipeg. Nope. And hey, Static in Stereo and LiveOnRelease opened? I’ve seen them? I’m pretty sure you could sneak anything you want into my Word document of old concert reviews and Future James will believe it. Maybe you already did.

Anyway, over time my tastes shifted, I became less interested with each successive album, and eventually just quit following her career. It happens. This show was probably going to be the first time I’d even heard Bif’s music in a decade, and I was really interested to see how I felt about it. Plus, she wrote a book, and this was basically her book tour. The show was going to be acoustic songs interspersed with stories and readings, so it was guaranteed to be different than her other shows I’d seen.

The tickets said “doors at 8:00,” which is later than most shows at the Exchange, so I was skeptical. I drove up around 7:55 and sure enough, there was a line from the door down to the street and partway down the block. I was already expecting to stand in the back, off to one side, so I didn’t think there was much reason to join the horde. I parked, sat there for 15 minutes playing games on my phone, and eventually wandered over – only to find that the line hadn’t really moved. But whatever, by then I was committed, so I waited for another 10 minutes or so until I got inside.

Once in the building, I was surprised to see the floor full of chairs. I suppose it made sense for an acoustic show. I was even more surprised to see how many chairs were empty, considering the show was sold out and the people ahead of me in line were only able to buy their way in because not all the tickets set aside for comps wound up getting used. I don’t know if there were a lot of people who stayed home to watch election results or if the Exchange just set out every chair they own. Whatever it was, I had a good view and enough space to stretch out.

The opener was Jordan Alexander, who met Bif while working at a bookstore in Toronto. She played mostly her own songs on guitar, with a little sampler keyboard deal (I couldn’t really see it) for playing backing tracks. She also threw in a few covers, including Teenage Dirtbag by Wheatus, saying that we probably hadn’t heard her songs yet (true) since her album just came out, and she figured we’d like to hear something we knew. This was all fine, though the best moment was a happy accident. She was playing a song that she wrote for her best friend, and she stopped about a minute in, thinking she was playing it in the wrong key (which I don’t think she was, but like I’d know). After fiddling with the sampler machine for a second, she gave up on it and decided to play the song just on guitar instead. Not only did she handle the situation with a great sense of humour, but it wound up being the best song she played. One guy behind me yelled “now throw it away and never use the backing tracks again” and I would have to concur. I’m sure it’s a nice safety net to have when performing, but she showed she didn’t need it. The crowd wasn’t paying much attention to her at first, but this did a fine job of winning them over. Not that she needed this song’s help – she also came across as the most likable person ever. Would go see again.

A quick break and then we were joined by Bif Naked, who said that tonight we were not going to think about our neighbours to the south. I tried, but y’know. Also on stage was Snake. Snake is Bif’s husband, and not a literal snake (I know, I saw his arms). I’m sure Snake has a real name but then so does “Bif Naked” and real names are unnecessary.

Like I said, this was an acoustic tour, with Bif reading stories from her book and singing songs while Snake played acoustic guitar with his human arms. The stories were really good and I’d be interested in reading this book at some point. Bif’s had quite an eventful existence. The songs were mostly taken from her earlier albums, so largely stuff I knew, and some of her more personal songs. Some of them made the transition to acousticness (?) quite well, like Lucky, Chotee, Spaceman, and Daddy’s Getting Married. Others not so much. Tango Shoes didn’t work for me. And I Love Myself Today felt like it was two people performing two different songs at once. I’m surprised that one didn’t come together when the best version of that song I’ve ever heard was a capella (in front of an audience of two, no less – very intimate house concert).

I don’t really know how I feel about this show. I enjoyed some songs, didn’t care much for others, and I don’t think my tastes have swung back her way – but as I mentioned, by the end of things, my head was no longer in the game. I Love Myself Today was the last song she did, and by that point, the election results were obvious, and it felt almost ridiculous to even be thinking about music right then. There was no encore, and I was fine with that, because I was done at that point anyway.

Certain members of the audience also tried their best to drag the proceedings down. One exceptional fellow – drunk, stupid, or some combination thereof – could not grasp that this was not a normal rock show and also that he was not the star of said show. Bif is reading a passage about finding out she has cancer and going through chemotherapy, and this shitbird jackoff is hollering I LOVE YOU BIF IT’S MY BIRTHDAY TODAY I WANT A BIRTHDAY HUG! Like, dude, shut the fuck up. And later on, she’s talking about being a sixteen-year-old runaway who got rescued from what appeared to be a prostitution ring from a friendly cab driver, and she’s thinking that she’s going to have to perform sexual favours for the cabbie in exchange for his help, and this dude in the crowd is yelling YEAAHHHH! I already said “dude, shut the fuck up,” but seriously. This is not a fun sexy time story at all. And also maybe don’t demand that strangers touch you, especially if you suck and are gross. When I left, the guy was waiting to buy a book, by which I assume I mean “not buy a book but demand a birthday hug” because obviously that was where this was going, and some people who were sitting near him were trying to decide whether or not they should confront him about how he was behaving. I didn’t stick around to see how this played out but I’d be pretty fine with it if they Negan’d his head all over the parking lot.

That is not a nice thought or a nice way to end this. So there’s this: the only thing the cab driver made Bif do is call her mom. Bif later dedicated her first album to him. There are good people. I like them.

SLCR #267: Steve Earle & the Dukes (November 3, 2016)

November 14, 2016

Earl and Duke. I just got that. Like, right now. This is off to a fine start.

This show was part of Steve Earle’s 30th anniversary tour for his debut album, Guitar Town; a tour that’s been going on so long that Guitar Town is now 31. I have vague memories of driving around with my dad as a kid, listening to Guitar Town, though upon revisiting to the album before the show, I found that I was very familiar with the title track and didn’t remember much else about it.

Earle was going to play the album start to finish, in what has to be the most common new gimmick I’ve seen in concerts in some time. When did this start? I’ve been to a few “anniversary” tour shows this year that did this, including I Mother Earth, Hayden, and Sloan. I suppose it’s a good way to get people to come out since it’s not like it costs extra, you might draw back some lapsed fans, and if someone has seen you before, you can promise them a different kind of show (and one they’ll likely only have one chance to see). Plus you might sell some extra copies of an old album too. I’m not opposed to the idea at all, though I wonder if it isn’t a bit polarizing. It’s great for people who are big fans of a specific album, but let’s say I only know a handful of an artist’s songs. And let’s say that artist is Steve Earle, hypothetically. Do I want to listen to an entire album instead of a show where you might get all the hits spanning his entire career?

As it turned out with Earle, you didn’t have to choose between the entire album and the hits. You got pretty much everything.

I picked up my ticket as soon as they went on sale and was a little surprised to see just how fast tickets were going. People love this guy. I’m pretty sure it was sold out within a day. I got an aisle seat up in the balcony – far back, but a nice view – though there really are no bad seats in the casino. I showed up about ten minutes before the show was set to begin, ran into Mark and Arlette which is always a delight, and found my way to my seat.

This is all super exciting for you thus far, and I figure it’s pretty much peaked. That’s how these go sometimes.

Unlike the custom at the casino, there was no local DJ to kick off the show. Instead, the lights dimmed and a recording played with what sounded like a radio dial tuning in station after station, switching between snippets of mid-80s news stories and pop culture. This was clearly custom-made for the Canadian shows, as the quick hits about Ronald Reagan and the Challenger disaster were mixed with clips referencing Ed Broadbent and the Beachcombers, two names I did not expect to hear on this evening. Also, I want to learn how to play an instrument and start a band that only covers Canadian hits and I want to call that band Ed Broadbent & the Beachcombers. Is Ed Broadbent still alive? OMG he is. Would he agree to this? I should find out. Does he have a Twitter? No. Well, an Ed Broadbent does, but not the Ed Broadbent in question. The Broadbent Institute has one, though. Should I ask them for permission? Or should I wait and ask for forgiveness? The latter is probably easier since I will never actually start a band. But I like this idea a lot.

Anyway, that’s something to consider later. Earle and his band took the stage and played through all of Guitar Town, with Earle adding a few stories along the way. The inspiration for the album came from seeing Springsteen on the Born in the USA tour – there’s an interesting fact for you. Another interesting fact about Guitar Town? It’s pretty short. They played through the album in what seemed like no time at all. After a brief intermission, they came back and played a longer set with songs from throughout Earle’s career. I didn’t know a ton of them, but there was The Devil’s Right Hand, The Revolution Starts Now, and of course Copperhead Road. The encore featured covers of Hey Joe and Wild Thing, as well as what I believe Earle said was a song by the Pogues, though not one I recognized (he said, as though to make it sound like there was an off-chance he’d know anything about the Pogues).

Well, that was all very… factual. So how was the show? I was a little leery buying the ticket, to be honest. A friend I worked with saw Earle a few years ago and really disliked him. What I saw was the opposite of that. Maybe she caught him on a bad night, or maybe she has questionable taste and judgment in pretty much all areas (this. it’s this.) but this show was fantastic. Great songs, the Dukes were tremendous musicians, and a raucous crowd that loved everything. I don’t really have a ton to say about it other than that. Definitely a show where I left a bigger fan than I was coming in.

That raucous crowd had a lot of help; at least where I was sitting, it was a constant stream of people coming and going to and from the bar. It got to be a bit much at times, but the layout of the seating there is such that at least they can walk past you without you having to move. Ample legroom is everyone’s friend.

For the last songs, a crowd gathered at the front of the stage, but before that, everyone was seated for pretty much the entire show. When the casino does general admission shows, they make the whole floor standing room. I wonder if they’d be able to make the closest part standing while still reserving some floor seating further back, in the elevated sections. Having the people standing down at the front helped the atmosphere, and that would have been welcomed from the beginning – but it also blocks the view of the people sitting at the front, and there were probably lots of people who wanted to be sitting.

If you want many more thoughts about the logistics of concert venues that you have never been to and will never go to, there are crisis lines you can call. Not, like, for this specific situation, probably. But talk to someone.

SLCR #266: Bush (October 27, 2016)

November 4, 2016

My goodness. The last time I saw these guys was 19 years and 249 reviews ago. I was not quite 21. Pat was there. We hoisted. It was a different time.

I wasn’t sure about going to this. For as much as I enjoy some Bush songs (Machinehead) (maybe some other ones) (no, mostly Machinehead), I don’t know if I think of them as GOOD, exactly. For all the hey-remember-your-faraway-youth concerts I go to, I was more uncertain about this one than most. I discussed the situation with Jeff and he seemed equally hesitant to get tickets. Finally, I left it up to fate. If I could get really good seats, we’d go. If not, such is life.

I do not believe that there is a god, but if there is one, he or she must have been really into the idea of us seeing this show, because we wound up in the front row. That is a super weird thing for a supreme being to care about, but I suppose I wouldn’t be able to comprehend how its mind would work anyway, so maybe it’s not? If I quit listening to new music in the 90s, maybe God did too. “I dunno, I had the radio on, and Sarah McLachlan did this XTC cover, and I was just like… this just isn’t for me anymore.”

I figure we lucked into front row seats because the Conexus Arts Centre ticket website machine won’t let you leave one empty seat by itself, and there were three seats open in the front row, so if you wanted to buy a pair, you couldn’t. I debated it briefly, but ultimately figured we could give the third one a good home – or a good butt, as the case may be. The third ticket wound up with Scott, a guy I work with who was also at that Bush show in Saskatoon 19 years ago. He said it was his first “real” concert, apart from going to see The Nylons for a classmate’s tenth birthday, which still seems like the oddest idea for a kid’s party.

My first non-kids’ concert was Rod Stewart, for the record. Next up was Billy Joel. Musically sated, I then took something like eight years off. Then Céline Dion. That is such a bizarre contrast to this past year. Or to a normal person’s life, probably.

Anyway. Scott picked me up and we met Jeff walking into the auditorium. It was a slow process; Scott knows everyone. We approached our seats and simultaneously remembered that we were sitting in the front row. I mean, we all knew, but I didn’t really think about it once I bought the tickets, but then you actually get there, and it’s pretty exciting.

Our openers were the Dead Deads, playing their first-ever Canadian show. I think they said they come from Nashville? Five young girls with X’s painted on their eyes, presumably because they are dead dead. I didn’t really know what to make of this? It wasn’t SUPER loud but did have some death metal growwwwwwwwls thrown in there. One of my cohorts said this may have been the worst band he’d ever seen. The other said it was “okay.” I fell closer to the “okay” side but in that “this is not really meant for me and I don’t feel the need to seek out more of this” sort of way. If you were at that Bush show 19 years ago, you may know what I mean when I rank these guys closer to Souls (fondly remembered by me for the non-hit song “Fuckmonkey”) and less like Veruca Salt.

There was an unusual moment when the singer said that their new album was produced by Page Hamilton, the lead singer of Helmet. “And he’s sitting right there!” she says, pointing into the crowd at the other side of the stage from us. It just seems really weird that he’d be there. We weren’t able to see him from where we were sitting, and after their set, Scott went on a reconnaissance mission but never found him.

After a short intermission, Bush took the stage and it did not get off to a great start. They opened with Everything Zen, which was good, but things fell apart a few songs in. During a song I didn’t know, it seemed like there was a long awkward pause. Jeff leaned over. “I think that was a fuck-up.” Sure enough, Gavin Rossdale called a halt to the song. “We don’t play like that. We play good.” I’ve seen a number of shows this year where a song hit a snag, and to a one, the performer had a good sense of humour about the situation (or could at least fake it well enough). Not here. Rossdale was clearly frustrated. Then they restarted the song and he messed it up again, and at that point, the rest of the band was looking frustrated too.

Later on, a guitar tech came out to switch out Rossdale’s guitar, mid-song. Rossdale shooed him away, looking pretty unhappy about the interruption. But he didn’t notice that the tech had turned down the guitar he was playing in preparation for the swap, so he kept on playing the original guitar, just very quietly.

Jeff tells me that in that first song, there are supposed to be two verses before the chorus, but Rossdale was trying to go into the chorus after the first verse. It’s good to know people who know things. He also told me the song was called “the Disease of the Dancing Cats,” which sounds like the kind of thing he’d make up to see if I put it into my review without checking. The setlist.fm record of the night backs him up, but I don’t know that Jeff didn’t upload the setlist, playing the long game. Devious.

Here’s that setlist. You’ll note that a few songs are marked as having been played live for the first time. That’s what Rossdale said, anyway; I don’t know if it’s true, but if so, that’s pretty neat:

Everything Zen
Just Like My Other Sins
The Chemicals Between Us
The Disease of the Dancing Cats
The Sound of Winter
Greedy Fly
The Gift
Earth Keeps Burning (live premiere)
Monkey
The People That We Love
Swallowed
This House Is on Fire
Lost in You (live premiere)
The Only Way Out
Insect Kin
Little Things

Before getting into the encore, I want to note a few things. There was a big screen behind the band that played during the whole show. Often, the videos playing were abstract and just there for decoration. But during one song, there was a video of a man with a briefcase. He checks a scrap of paper. 999 999. Aha! He unlocks the briefcase. Oh no! It wasn’t 999 999! It was 666 666! And the briefcase is full of evil! In the form of many CGI blackbirds!

The more I talk about the show, the less good it sounds. But that’s not fair – it was a lot of fun too. If you check that setlist, there are a lot of good songs on there. And sitting right up front helped a lot; it was really cool to see Rossdale singing and playing guitar literally two feet from me at times. And to his credit, he tried his best to bring that experience to as many people as possible. He’d hop off the stage, run up and down the aisles, hugging and high-fiving whoever he could. The highlight of this was near the end of the main set, when he disappeared out the back of the auditorium and reemerged on the second balcony. This was all really cool.

And though it’s not 1997 anymore, there were nearly as many high-pitched squeals for Rossdale as there were 19 years ago. Girls behind me shrieked “We made eye contact! I SWEAR!” And there were three girls up on the balcony who looked ready to faint after their surprise front-row show. This fantastic reaction really helped the atmosphere.

You might notice some prominent singles missing from the setlist above. Unsurprisingly, the encore included Machinehead, Glycerine (Rossdale solo), and Comedown, in that order. More surprisingly, between Machinehead and Glycerine, they played The One I Love. As in, the R.E.M. song. Nobody saw that one coming, but it went over really well. As did all the hits, of course.

So yeah, it was not without its flaws, but overall, it was a fun show. You might be advised to temper your expectations a bit, but if you want to relive your (well, my) just-after-University years, you could do worse.

SLCR #265: Sarah Slean and the Regina Symphony Orchestra (October 22, 2016)

October 24, 2016

BEFORE THE SHOW (SATURDAY AFTERNOON)
Jason Mewes and Kevin Smith – Jay & Silent Bob – are somewhere in my town. Probably somewhere near the casino. They’re doing one of their speaking gigs there tonight. I was supposed to go. It’s been a long time since I’ve considered myself a Kevin Smith fan, but when the show was booked, I decided to check it out. His speaking engagements are legendary; in fact, DVDs of his appearances are my favourite things that he’s put out in a long time. But then the original show was postponed and rescheduled for today. Around that time, I heard about the Sarah Slean show, also tonight, so I had a choice to make. I returned my Jay & Silent Bob ticket, claiming that I couldn’t make it to the rescheduled show, and used the money to get my Slean ticket instead. The Jay & Silent Bob show is sold out, so they won’t miss me. I’m glad my seat will still have a butt in it.

Slean is “reimagining Broadway” with the Regina Symphony Orchestra. I wonder if a lot of people had to make the hard choice between Kevin Smith and the symphony tonight? Or any night?

My ticket is in the front row. That sounds great, but I note that it was also relatively cheap – something like $40. Five rows back, tickets were $90. I suspect I may find myself to be TOO close, like at the Art of Time shows earlier this year. Oh well, I don’t really need to see much, I just need to be able to hear things.

AT THE SHOW
Yeah, this is really close. But I think it should be okay.

ALSO AT THE SHOW
Intermission. I’m just off centre, front row, 6 feet directly in front of Sarah Slean at all times. I thought she’d be playing piano but she’s only singing (not ONLY only – you know what I mean – not multitasking). There’s a trio with her on piano, drums, and upright bass. Been very good so far. She accidentally tried skipping a song but recovered nicely. I know more of these songs than I thought I would. Will list all songs later; hooray for programs.

They’re selling CDs later and also having a reception to welcome the new musical director. I likely won’t buy anything or go meet anyone but it’s nice that these things happen.

No encore listed in the program. I wonder what they have planned? If anything?

AFTER THE SHOW
The encore was Over the Rainbow. She tried to encourage people to sing. Most did. Me, no. I didn’t sing on request for Edelweiss either, but that time I had the excuse of not knowing it well enough to even try.

Songs! Here they are:

• Overture (I noticed Anything Goes and If I Were a Rich Man; there may have been other songs in the medley if you know more than I do, which you probably do)
• Oh What a Beautiful Morning (Oklahoma!)
• I’ve Never Been in Love (Guys and Dolls)
• Chim Chim Cheree (Mary Poppins)
• Somewhere (West Side Story)
• Edelweiss/My Favourite Things (Sound of Music)
• Mein Herr (Cabaret)
Intermission (not a song)
• NYC (Annie)
• Consider Yourself (Oliver)
• You’re Never Fully Dressed Without a Smile (Annie)
• America (West Side Story)
• Falling Slowly (Once)
• I Dreamed a Dream (Les Miserables)
• There’s No Business Like Show Business (Annie Get Your Gun) (presumably a gritty reboot of Annie)
Encore (also not a song)
• Over the Rainbow (I dunno, maybe Hamilton, that’s a thing I’ve definitely heard of)

The show opened with a bunch of introductions of symphony people that you probably don’t care about even though they do important work and give important money and make the entire symphony possible and have you ever even thanked them? I thought not. For shame.

This led to the introduction of Sarah Slean and the Mike Janzen Trio. Like I mentioned, Slean was singing and Janzen was on piano, with George Koller on upright bass and Ben Riley on drums. Plus there was that whole orchestra thing. This was the setup for pretty much every song, apart from Consider Yourself and You’re Never Fully Dressed Without a Smile; both of those numbers had Janzen singing, and Smile featured just the trio.

Whether or not you think this was a good show would depend on your thoughts about 1) the musicians, 2) show tunes, and 3) Slean herself.

The musicians were fantastic and so of course that means they’re going to get the shaft and I’m not going to talk much about them. But yeah. All great.

Show tunes… I don’t know. I’ve never been a musicals guy apart from comedy stuff. That said, I knew an awful lot of these songs just because how can you not, right? I thought the arrangements (all done by Janzen) were really well done – true to the originals but took full advantage of the orchestra.

As for Slean, I know some people who love her and some who don’t. Obviously, I’m a fan, but I can see how it could get to be too much of a good thing. This is probably best summed up by the reactions of the folks I was sitting near; the group to my right loved her and praised how “emotive” she is. The group to my right said very little as they were leaving beyond “she’s a ham.” Two sides of the same coin, I figure. Even more than her own songs, Broadway show tunes gave her the opportunity to emote as she sang. So basically, if you already liked her, you’d have enjoyed this. And if not, nothing here would change your mind.

Like I said, I’m a fan, and I thought this was quite good. I’ve seen Slean in concert a few times now, and I’d have gone to see her playing another “normal” gig, but I love unique shows like this. Very glad I went, would go again. They should bring in other people too. Like Ben Folds, so I could see him with an orchestra without having to drive to Edmonton. I need every one of you to go on Twitter and tell the symphony they should do this; they’ve got me blocked for some reason.

UPCOMING CONCERTS
• Bush w/The Dead Deads (October 27)
• Donovan Woods w/Joey Landreth (November 2)
• Steve Earle & The Dukes (November 3)
• Bif Naked w/Jordan Alexander (November 8)
• Duotang (December 2)

SLCR #264: BreakOut West (October 13-15, 2016)

October 17, 2016

BreakOut West is a celebration of Western Canadian music, complete with an awards show, live concerts all over town, and various music industry-type events for musicians and labels and whatnot.

If you haven’t heard of it, that’s not too surprising. They’ve been doing this since 2003, but there was really no hype for this at all here this year. Even my local music-loving friends didn’t know much about what was going on. Mika said she only read about this on the CBC, and then, only after the events had taken place. It’s a real shame. It wasn’t what I’d call a star-studded lineup if you’re looking for national or international names, but there was tons of great local talent. And with a $20 wristband getting you into over 10 venues across the city, it was a ridiculous value. “You didn’t even have to make much use of it to get your money’s worth,” he said, foreshadowingly.

THURSDAY: The Junos and Prairie Music Week and all that good stuff have come to town before, and I’ve always skipped the awards shows. They cost extra, and even if you like a performer on the show, you’re only getting one song. Not really worth it. But you know how sometimes on Facebook, you’ll see a thing that says “like and share this status to win”? Sometimes that actually works. And that’s the story of how I won free tickets to the Western Canadian Music Awards.

I stayed late at work on Thursday, walking over to the casino to meet Mika shortly before the show was to start. We ran into Brian in the lobby, who introduced us to his wife; I had met her before, but to be fair, it was probably 15 years ago.

Also in the lobby was a table where one could buy the new Colin James CD, Blue Highways, the day before its official release. The CD was also your ticket into the afterparty, where you could meet him and get it signed. And, you know, you could congratulate him on his induction into the Western Canadian Music Hall of Fame, which was the centrepiece of the awards show. We did none of these things.

Our free tickets were general admission. The nice casino lady told us to find any table we wanted and sit there, so we parked ourselves on some really uncomfortable chairs front and centre. She then came back and apologized for misleading us; general admission meant you could stand around the front of the stage, though she suggested we could stay at the table if we wanted and just move if someone with tickets showed up. At this point it appeared that maybe they hadn’t sold too many tickets for this shindig. Anyway, standing around by the stage would have given us a really good view, but we are old, and I wasn’t sure how into the show I’d be and didn’t know how much I felt like feigning enthusiasm should that be required, so we snuck up to the balcony. It was less than half full, so we found some open (and much nicer) seats and enjoyed the show from up there with drinks.

Normally, the awards show closes out the festival on Sunday night. However, the decision was made this year to switch things up and use it to kick off the event instead. Also, they removed some awards from the show to make room for more musical performances. The other awards were handed out at various venues on the Friday and Saturday nights. I am all in favour of more music and fewer speeches, so I was fine with this.

Also, I gotta say, having a program is real handy when you’re trying to remember what happened.

The show started about 10 minutes late, which is a tardiness record for a casino show. It opened with two songs from Michael Bernard Fitzgerald, who was the guy I was most looking forward to seeing over the weekend. This was a delightful development, because if the show sucked, it meant I was free to go because I’d seen what I came for. Spoiler: it didn’t suck! There were some kinda dodgy moments and technical issues, though. Anyway, MBF played One Love and This Isn’t It and they were good.

The MC was country singer Brett Kissel, who I gather is becoming somewhat of a big deal. You may remember that I saw him in Calgary a few years ago, opening for Loretta Lynn. He seems more confident now and handled his hosting duties really well, doing his best to get the crowd amped up while handling a few production snafus with a quick wit. But I have a quick tip for him: jokes at the Saskatchewan Roughriders’ expense don’t work here, even when they totally have it coming after a trainwreck of a season. Too many people will just never find them funny.

The next three performances were by David Morin, William Prince, and Justin Lacroix, all of whom offered some variation of guy-with-guitar, and all of whom were good. Morin was on the bluesy side, Prince was more of a country/roots artist, and Lacroix’s song was faster paced, closer to rock. I liked all these guys.

Rosie and the Riveters, from Saskatoon, got two songs at around the halfway point of the show. This is a four-piece from Saskatoon who play 40s/50s-inspired girl-group pop – think the Andrews Sisters. Or maybe there are a million better comparisons if you know more things about things? There’s a starting point for you, anyway, enough to let you know if this sounds like something you might enjoy or not. I liked them fine, but am not sure if I’d want a full set of them. Maybe?

After some more awards, we had performances from Lexi Strate and Diyet. Strate was pop while Diyet was more on the folk side, and also she apparently only made it into town about 20 minutes before she was scheduled to play.

I’ve been skipping past the awards as we go along here, because you can look them up if you really care, and to be honest, it’s hard to believe the awards are a big deal if nobody shows up to accept them. They gave out 9 awards on this show; of those, five winners were no-shows and one was represented by their publicist. Kissel wound up accepting a lot of awards on behalf of others. But hey, let’s celebrate the folks who did make the trip: William Prince got Aboriginal Artist of the Year, Jocelyne Baribeau won Francophone Artist of the Year, and the West End Cultural Centre in Winnipeg got the Community Excellence Award. Some guy who never gave his name accepted that award; I can only assume that the WECC assumed human form and made the drive from Winnipeg. That means I… I’ve been inside him, you guys.

Kissel was up for an award of his own, Breakout Artist of the Year, and he was also responsible for introducing the award and announcing the winner. “Let’s be real here, this is going to be awkward either way,” he said, getting the biggest laugh of the night, before announcing the Bros. Landreth as the winners.

He followed this up with a three-song performance, where he deftly handled several malfunctioning microphones, including singing a capella with a bandmate’s mic at one point, while also managing to pose for a mid-song selfie with fans in the audience. His style is modern country radio that I’m not particularly into, but at this point in the evening, the energy was welcome. He also played his new song, I Didn’t Fall in Love with Your Hair, for which he’s donating all proceeds to cancer charities. It’s… very earnest. But if it’s raising some money for a good cause and people like it, good on him.

Finally, the headline performance was by this year’s Hall of Fame inductee, Colin James. Jay Semko of the Northern Pikes introduced a video that chronicled James’ career, before the man himself took the stage for a short speech followed by four songs. Two were from the new album, and the others (i.e., the ones you might know) were Just Came Back and Why’d You Lie.

Here’s the thing about Colin James. Being from Regina, James is treated like a huge star here. And while he had some big hits and he’s really talented, I think if you live here, it’s hard not to feel a bit of Colin James fatigue. That tends to happen whenever anyone from here achieves any kind of success. Having said that, if you can ignore that and just watch his performance, the dude is incredibly good. Which you already know, but still. It’s easy to forget just how talented he is.

The Hall of Fame itself is a nice honour, though I looked at the list of inductees and the lack of the Guess Who, kd lang, Ian Tyson, Joni Mitchell, and others does make it feel a bit like a Hall of Whoever We Could Get to Show Up This Year. Which is not to say that these folks aren’t deserving in their own right, just that there are some glaring omissions. Anyway, you likely don’t care, but it took a lot of clicking to dig this up, so here it is for your reference.

2016: Colin James
2015: NoMeansNo
2013: Jann Arden
2012: The Northern Pikes
2011: 54-40
2010: Chilliwack
2009: Loreena McKennitt
2008: Spirit of the West; Senator Tommy Banks
2007: Buffy Sainte-Marie; Queen City Kids
2006: Harlequin
2005: Loverboy
2004: The Stampeders
2003: Kenny Shields & Streetheart

With that, the show wrapped up and we headed home. Awards shows have never appealed to me, but this was a surprisingly fun evening. There was a range of artists and they kept the show moving at a decent pace. It would have been better with a larger and more engaged crowd, but what can you do?

FRIDAY: Um haha so yeah speaking of a not-very-engaged crowd, it was a long week at work so I just stayed home. Not the best use of my all-access wristband, but it was only $20, so I figured I could head out on Saturday, see a show or two, and that would be enough to make it worthwhile.

SATURDAY: So that’s exactly what I did. I got to the Owl at the University of Regina a bit before 9:00. My plan was to see the Dirty Catfish Brass Band in the multipurpose room, but the Owl has tasty beverages and I’ve been there before and thus am familiar with the place, so I bought myself a Magners and hung around for Belle Plaine, a local singer I’d heard a lot about but never had the chance to see. Inspired by traditional music, she did a set of originals that showed off her voice and her songwriting skills. She also covered Wayfaring Stranger, Nobody Knows You When You’re Down and Out, and Tom Waits’ Christmas Card from a Hooker in Minneapolis, and those three picks probably say more than I can about what type of music she plays. I enjoyed this at the time, and the more I think about it, the more I liked it. Would go again.

Next up was, once again, Michael Bernard Fitzgerald. I hadn’t seen him play in a long while, and while I would have been up for more than a 45-minute set, what we got was real good. He focused almost exclusively on songs from his new album; if you wanted anything older, all you got was Follow and I Will, though he also played his new Justin Bieber cover, What Do You Mean. I haven’t spent enough time with the new album, so it was really good to get a chance to hear these songs live for the first (or, with the awards show, second) time. With some musicians, I listen to the album to make me enjoy the live show more, but with MBF, it seems to work in reverse; hearing the songs live makes me appreciate the album better.

With that, I was done for the evening. Like I said, not the best use of the wristband, but I’d pay more than $20 just to see MBF with Belle Plaine opening, so I made my money back. On the way out, I picked up a copy of Fitzgerald’s new album on vinyl (signed but still in the shrinkwrap). Good thing I raided Mika’s purse before I left the house. I also ran into Brian, who introduced me to his wife; I had met her before, but to be fair, it was probably two days ago.

SUNDAY: The website said there were events all weekend long, but the schedule didn’t actually list anything for Sunday. I love ending these things on complete anticlimaxes, so bye.

UPCOMING CONCERTS
• Sarah Slean with the Regina Symphony Orchestra (October 22)
• Bush w/The Dead Deads (October 27)
• Donovan Woods w/Joey Landreth (November 2)
• Steve Earle & The Dukes (November 3)
• Bif Naked w/Jordan Alexander (November 8)
• Duotang (December 2)

SLCR #263: I Mother Earth (October 8, 2016)

October 16, 2016

I should just let Jeff write this one. This wasn’t a show for me.

Which is not to say it was a bad show! I liked it just fine. It’s just that my I Mother Earth fandom has not been properly nurtured. I didn’t think about it before the show, but I really don’t know their music that well. You know how I said Basia Bulat is one of those people I only ever listen to when I go see her in concert? IME is like that for me too. Except I’ve only seen them twice, and the last time was 16 years ago. So that’s a thing.

“We’ll find out how many I Mother Earth songs you know,” said Mika, right before the show began.

“One.” I answered with confidence, and nothing on this night suggested I was wrong.

It’s “One More Astronaut,” if you were wondering. Thank you, Big Shiny Tunes.

You may recall that we had tickets to see IME months ago. Then they got back together with Edwin, their original lead singer, much to Jeff’s chagrin, so the tour got postponed. I was fine with this development, because 1) the last time I saw them they were with their other singer (Brian Byrne), so this would be new for me, and 2) what the hell difference did it make for me anyway?

Though I feel bad for Byrne. Gotta suck for him, right? He had the tour all lined up and then bam, they bring back the old guy. According to Wikipedia, he’s trying out to become the new singer for Stone Temple Pilots, so I guess being “the other singer” is kind of his thing. Good on him.

Mika and I got to the casino and ran into Jeff and Jeremy on the way in. They made their way upstairs to the seats in the balcony, while we were standing on the floor. This means that we had to communicate via text, and part of me wants to just transcribe everything rather than think up words and put them in order. Maybe I should start with the most recent thing I texted Jeff; namely, that someone made a downloadable Harambe for WWE 2K17.

Our openers were the Standstills, who apparently get played on the local rock radio station, according to the DJ who opened up the show. This was an aggressively loud two-piece and, uh, I didn’t think they were very good at all. I mean, the first two songs were nothing special; mostly I thought “this is okay enough and I rarely go see bands like this, so it’s a nice change, but it sure sounds like these two are not playing the same song at the same time.” Then they covered part of Stone Temple Pilots’ “Vasoline” and it was out of tune and off time and he was screeching as if he was intentionally trying to sing horribly and this was just the absolute worst. My opinion of them never recovered. They played one of the shortest opening sets I’ve ever seen, so that was nice.

After an intermission, out came I Mother Earth. This should be the part where I say “I don’t know what they played” but I do! The entire main set was the Scenery & Fish album, start to finish. It includes One More Astronaut, so hooray for that. The encore, meanwhile, was three singles from the album Dig: Levitate, Not Quite Sonic, and Rain Will Fall (note: Mika says the songs weren’t played in that order) (and also she told me what they were). Nothing newer than that. No Byrne songs, poor guy.

So how was the show? I thought it was fine enough and I liked the encore the best. That is what I think and that is all I think, so here I will defer to the IME fans. Mika thought the show was really good, though she noted preferring Dig to Scenery & Fish. I’m going to assume that I do too. Jeff, meanwhile, said “holy fuck was this good.” Later, talking to Jeremy, he said he liked it even more than Jeff did.

I did find it funny that Jeff and I liked pretty much the opposite things about the show:

Jeff: It’s such a great album to perform live, because there’s all these opportunities for 10 minute mind-blowing solos & detours
James: See I think that’s what I don’t care for
James: But the encore was super good
Jeff: Heh, I thought the encore was the weakest part🙂

So yeah. I think we’ve long established that I’m not a fan of noodling on the guitar for the sake of noodling. Enjoy it if it’s your thing, but it just doesn’t do anything for me. But I think we’ve also established that if you’re into IME, you should clearly try to see them because you’ll really enjoy the show. And if you’re not, it’s still good and all.

Also, digging through text messages reminds me that at one point, all the security guards in the place went sprinting towards the lobby. One of them ran into Mika real good. Never did find out what happened there. I love ending these things on complete anticlimaxes, so bye.

SLCR #262: Basia Bulat (October 5, 2016)

October 15, 2016

Well, this should be short. This was one of those evenings where the tunes were good and it was a nice night out but I don’t really have anything to say about it.

I was vaguely aware of Basia Bulat the first time I saw her play, which was nearly ten years ago now. I knew her name, anyway, though not how to pronounce it – I got that wrong for years. Am not particularly confident now. But I digress. Some friends of friends had a show at Amigo’s in Saskatoon, and she opened for them. That seemed a bit weird, given that I had actually heard of her. Seems more weird now.

I remember thinking that her songs were very pleasant and enjoyable. I saw her again at the Regina Folk Festival a few years later (which was now a few years ago, in what has to be some kind of time paradox) and felt much the same. You may note the lack of details or strong opinions here. That’s how it goes sometimes. Sometimes you just say “that was nice” and move on.

But nice is good! I like nice. So when the Folk Festival announced that they were bringing her back for a show this fall, I picked up a ticket. I figured that it might be the kind of show I’d be tempted to skip out on if I didn’t buy in advance. And I was right, since the show took place during the first snowfall of the year. I had to brush snow off the car, scrape the windows, all that nonsense. Staying inside was a tempting offer, but out I went. Toughed it out. For YOU. Mostly for me, but a bit for you.

I got to the Exchange and the place was surprisingly full. I go to lots of half-attended concerts in Regina, and between this and Fred Eaglesmith, you can really see where the Regina Folk Festival’s promotional efforts pay off. The casino does good work too, but I wonder what could be leveraged to get people out to other shows? musicreginalive.ca is great, but you need to proactively check it. There’s a business idea here. One that likely involves a ton of work for very little reward.

Anyway, you don’t care about that. What you care about is that I sat by the wall in the same place that I sat for the previous show. Also I maybe had a Diet Pepsi? Can’t remember. Sounds like a thing I might do. And Other James was there, but he was seated far away and we never crossed paths. He later messaged me to tell me that I missed a great show.

Our openers were Oh Pep!, a duo from Australia. Olivia and Pepita. Here’s what you need to know: Olivia’s least favourite nut is the cashew nut. Her most favourite nut is the Brazil nut. Olivia has ass-backwards taste in nuts, is what I got out of this. But despite that, these folks were pretty charming. They were touring their first album and played a set of classical-influenced pop (note that I don’t really know what constitutes “classical-influenced pop;” they just mentioned studying classical music together in school so sure, let’s go with that). Basically, if you like Basia Bulat, you’ll probably like them. Normally they tour with a full band, but being far from home, it was just the two of them. I enjoyed this and would like to hear what they sound like with some extra musicians. Maybe they’ll come back – their new album was recorded in Canada, and also they seemed really delighted that they got to experience snow.

Conversely, this was my first time hearing Basia Bulat with a backing band. I’m still not hugely familiar with her music – she’s one of those people I only ever seem to listen to when I see her in concert – but I enjoyed the fleshed-out sound. It was a full poppy tunes with a little more energy than I’ve seen from her before. This was all nice. I recognized the last song she played. And that was really about it. I’ll likely go see her again in a few years and I won’t be any better at this.

SLCR #261: Fred Eaglesmith (October 1, 2016)

October 11, 2016

Three behind! Again! For a place I don’t like to be, I sure find myself here often enough. I procrastinate, that’s kind of my thing. And I suppose it’s kind of fitting for this show. Fred Eaglesmith is a dude I’ve been meaning to see for something like 15 years.

I don’t know who first recommended Eaglesmith to me. Probably Jason, aka “Your Librarian Friend” in Mika code. We’ve known each other online for a very long time, and he’s been a Fred fan for far longer than that. I remember Josy hearing Fred songs at the radio station and telling me that I’d like him. Other folks have said so too. And yet, I never made the effort. I heard one song and enjoyed it, though it was so long ago that I don’t really remember it. And it’s not like he’s never come through town; I’ve just been busy, or broke, or something. Always something. So when this show got announced – I’m sure it was six months ago – I picked us up a pair of tickets right away. If I get tickets, we’ll go, right?

Okay, so that doesn’t always happen. Didn’t quite happen here either, as Mika wound up with a ticket to the Rams/Huskies game that was the inaugural event at our fancy-if-not-quite-finished new stadium. It was in the afternoon, so she could have gone to both, but with limited non-school personal time available, she picked the football game. Fair enough. Judging from Facebook, she was there with every person I know. Luckily, Other James was available in the evening and made sure her extra ticket got a good home.

We met at the Exchange shortly before the show was to begin and there was a line out the door. Doors at 7:30 apparently weren’t. Other James was more reserved than usual. He was feeling a little worse for wear after a late night out the night before, followed by a full day of sunshine in the garden. As I’m writing this, I’m watching it snow, as it’s been doing for the better part of the past week. I know this review is late, but it feels this show was a million years ago, weather-wise.

We found our way inside and the place was pretty packed. I don’t think it was a sellout but it couldn’t have been far from it. Other James got us some drinks and we found a nice slab of wall to stand against.

Based on the advertising, I thought Tif Ginn was our opening act. I thought wrong. She did get a few songs by herself after intermission, and they were real good, but for the most part she was playing along with and singing backup for Eaglesmith. They’re also married, which everyone probably already knows, but that was news to me. Though we’ve established that I didn’t know much about what I was getting myself into.

This was a delightful show. As predicted, I really enjoyed Eaglesmith’s songs, but I didn’t know he’d be quite such a showman. So many stories. So many jokes. I clearly should have taken that advice 15 years ago, but maybe it needed to happen now? Eaglesmith laughed about the age of his audience, essentially suggesting that they die off with some regularity, but there are always new people in their 40s discovering his music. “They borrow their dad’s car, put in a CD, and bam, I’ve got them.”

Not that everyone there was 40 and up. There was a wee lad in attendance – he looked to be maybe 3 or so – and he wandered up to the front, hopped right up on stage, and shook hands with Eaglesmith. That was pretty cute. Then he tried to talk to Ginn during her songs, then wandered back on stage when Fred came back out after intermission, and finally requested the song Freight Train. I don’t know from Eaglesmith songs but people seemed to think this was a pretty solid choice. The kid hung out at the front of the stage for a few more songs after Freight Train until Eaglesmith asked that he be given earplugs or taken to the back to protect his hearing. This got some applause that led me to believe that maybe some other people were also thinking that maybe this had become too much of a good thing, and also, where were this kid’s parents anyway? One of them took the kid back to their seats, at which point he began loudly whining about wanting to go back up to the front. It was deemed to be bedtime and home they want. He still outlasted Other James, who pulled the pin at intermission.

After Other James left, Your Librarian Friend and I chatted over Twitter about the concert. I would have gone over and talked with him in person, but I thought intermission would be over more quickly, so I probably just came across as standoffish. Hahaha whoops. Oh well, we got to catch up a bit after the show.

I haven’t talked a ton about the music because like I ever know what to say? It was real good. There. Straightforward country-ish songs that told little stories, with lots of humourous asides and tales of life on the road. Luckily, the sound at the Exchange was excellent, making it easy to hear the lyrics and the everything else.

That still doesn’t say much. And this week I have to write two more reviews for artists I know equally little about, so you might want to just skip past this whole week, really.

SLCR #260: Hayden (September 29, 2016)

October 5, 2016

Two things to start, based on your feedback:

1. On my quest to hit 40 concerts in my 40th year, this show was concert #31. I saw Fred Eaglesmith on Saturday, so that was #32. My roadmap to #40 is set, though there could always be shows cancelled/skipped or new shows added:

UPCOMING CONCERTS, INSERTED EARLY IN THE REVIEW AS VALUABLE FILLER
• Basia Bulat w/Oh Pep! (October 5)
• I Mother Earth featuring Edwin w/The Standstills (October 8)
• BreakOut West (October 14-16)
• Sarah Slean and the Regina Symphony Orchestra (October 22)
• Bush w/The Dead Deads (October 27)
• Steve Earle & The Dukes (November 3)
• Bif Naked w/Jordan Alexander (November 8)
• Duotang (December 2)

2. Dang, you people really don’t like Prozzäk. I totally get it, but I listen to a lot of garbage and that was the first review in a long time that stirred up quite so much outrage. Like, just at its very existence. And they’re not even entirely real.

I have very little to say about Hayden (“he’s good, you’d like him”) so I will tell the same story I tell every time. I first saw him in 1998, but I was tired and not into the show so I wound up leaving early. For many years, I thought Hayden wasn’t my thing. In 2013 he played the Regina Folk Festival which gave me an easy opportunity to give the guy a second chance, and I was really impressed. Last year, he opened for Dan Mangan and was great. And this was a great show too, so never listen to 22-year-olds. They’re sleepy and dumb.

Anyway. I bought our tickets for this show before they technically went on sale. The show was announced on a Tuesday with tickets going on sale that Friday, but I guessed that he was coming here and found the ticket selling page while it was being finalized and hadn’t been properly locked down yet. I was very pleased with myself for a day and then promptly forgot about it. Ultimately, it didn’t matter, as I don’t think the Artesian quite sold out, though it was close. Mika and I sat in the back with Mark and Arlette, and Mark and I reminisced about all the shows we’d seen there that he never took Arlette to.

There was no opening act, and Hayden had no band with him. The songs were just him and guitar or piano. And yeah, like I already said, this was great.

This was the 20th anniversary tour for his debut album, Everything I Long For, so he was playing it in its entirety. Sort of. Until the show, I didn’t realize that I had never heard the whole thing. In between songs, he encouraged questions and one person asked which version of the album we were getting. It turns out the first release had two songs (“Bunkbed” and “I Almost Cried”) that were left off subsequent editions because he was never happy with them. Apparently Bunkbed is one of the more popular songs to longtime fans. Mika says it’s good. She thinks she has a copy of the original release tucked away somewhere, so I may have to dig it up. Or, you know, I’m sure it’s on YouTube, which requires significantly less movement from my current butt-seated position. I’ll look someday, probably.

(*this is secret Master Persuader wizardry that will hypnotize Aaron into looking it up for me; I am very smart and handsome and can tell the future)

Not only have I not heard Bunkbed (or I Almost Cried, which nobody seemed to notice/care was missing), but I had also never heard the hidden tracks from the original release. They played as Hayden first took the stage and tuned his guitar; ad-libbed joke recipes for Kraft Dinner and a frozen-lettuce club sandwich. It didn’t sound like most people there recognized them but they were enjoyed just the same.

There was one song he said he didn’t perform often due to requiring a second person’s help, so he recruited a fan from the front row and didn’t tell her beforehand what she’d need to do. It turned out that he wanted someone who didn’t play guitar to play guitar. She seemed equal parts excited and mortified by the situation she found herself in, which, yeah, that’s fair. It wasn’t anything too complicated so he walked her through it and it was a fun break in the show.

Pretty much, the show was just him playing through the album. I dunno what else to tell you. I’ve heard the record and enjoyed it but am not so familiar with it that I could tell you what he changed up, if anything, apart from knowing that he skipped the song Driveway due to finding the lyrics stupid and not worth bothering with.

He did add on a few extra songs at the end, including No Happy Birthday, which always gets me right in the feels. And he played two covers as well; The Garage by Eric’s Trip came partway through the set (I only know this because Mika knows things and sometimes tells them to me) and he closed the main set with a cover of Ahead By A Century by the Tragically Hip. In a summer (shut up it’s not snowing YOU’RE SNOWING) of Hip covers, this was one of the best. Just Hayden and a piano, a great arrangement that brought out both the regret and the hope in the song.

And that’s it, really. Not the longest or most elaborate show, just an entertaining and enjoyable evening from a guy who makes me into more of a fan every time out.

SLCR #259: Prozzäk (September 22, 2016)

September 30, 2016

“What kind of people go to a Prozzäk show?” asked Mika. “Apart from you, I mean.”

Well, there goes my joke answer.

Judging from this show, I’d have to say 30-year-olds. And me. Which I guess makes sense. I can’t say it’s what I expected, but I didn’t really know what to expect, going to see a band that sort of doesn’t actually exist.

For the uninitiated, Prozzäk is made up of two guys, Simon and Milo, who I will surely call “Milo and Otis” at least twice in this thing. Simon is lovelorn and has no neck, while Milo is less expressive and kinda beefy. They’re also cartoon characters, so I wasn’t sure how this whole thing was going to work. Would this just be me watching cartoons for 90 minutes?

Answer: not JUST that.

Prozzäk was formed by two members of the Philosopher Kings in the late 90s. I remember being very surprised when I found this out. The two bands don’t sound anything alike, though I suppose the reason why you’d start a second band when you already had a reasonably successful first one would be to do something different.

The Americans among us may not have heard of Prozzäk but some of their songs that were released in the States as being by “Simon and Milo,” presumably to ward off any litigious pharmaceutical companies. They (the band, not Eli Lilly & Company) also had some sort of deal with the Disney Channel at one point, which seems like a questionable fit – they were cartoons, but not a kids’ band.

Prozzäk’s music is catchy electronic dancey pop that is not normally my thing, and yet here we are. I never bought any of their CDs – I could see that being too much of a good thing – but always found them to be kind of a guilty pleasure. So off I went to the casino, expecting a nostalgia trip and not sure what else.

I got there just before the show was scheduled to start. A DJ was on stage, playing music while standing between inflatable Simon and Milo heads. A local radio host came out to start the show, but we got 20 more minutes of who I learned was named “DJ Ageless” before abruptly shutting things down to make way for Prozzäk. He did not look particularly ageless to me, but to be fair, I was standing in the back.

There was a cartoon intro to the show that told the Prozzäk origin story, about how they were enemy warriors who were chosen by God (presumably) to travel through time to present day and search for true love. In looking things up for this review, there’s an element of truth to this – apparently, in the Philosopher Kings, “Milo” and “Simon” (they have real names but who cares) didn’t get along to the point where Milo hauled off and decked Simon. This led to them working out their issues, eventually forming Prozzäk (and a production company called Lefthook, named after the fateful blow).

After the cartoon intro, there were… more cartoons. Videos ran the full length of the show as a backdrop for the three actual humans on stage – Simon, Milo, and a girl who didn’t seem to be part of the Prozzäk mythology but added a much-appreciated energy to the proceedings all the same. When she wasn’t singing backing vocals, she was jumping up and down and running around, trying to get the crowd into things.

Prozzäk

it is Prozzäk

Like I said, I only know the singles, and on this show, they were bunched together, so it was Strange Disease and Ombolasire, then a looooooooooooong stretch of songs I’d never heard, followed by Saturday People, Be As, their cover of Wild Thing, and http://www.nevergetoveryou, with Sucks to Be You as the encore. Looking at album tracklists, I know they also played Tsunami, Pretty Girls, Hot Show, and at least two new songs from their album coming out next year – Love Fools Anonymous and Baby I Need Your Love (Pussy Cat Pussy Cat).

They sounded exactly like you remember, though they’re playing live over backing tracks and have to keep things timed to the cartoons, so that doesn’t lend itself to experimentation. Not that this is a bad thing, it’s just one of those shows where it will be pretty much exactly the same from night to night. But if it works, why not? It was a fun show with a lot of energy. They played everything you’d want to hear in a tight 90 minutes and everyone seemed to have a good time.

They still sound very much of their time, back from when internet was still pretty new and pretty neat. Not only did they name a song after a URL, but they somehow ignored the .com part, choosing to focus instead on the www. – and it made liberal use of the ICQ “uh-oh!” chime (which I would like for my text message notification noise).

I just checked, and http://www.nevergetoveryou(.com) is available… as long as you want to spend $5,850 on it. Maybe leaving the .com part out of the song was genius. You can get http://www.nevergetoveryou.mom for only $44.99. Still too much? http://www.nevergetoveryou.republican is only $32.99. http://www.nevergetoveryou.click is a steal at $9.99. Right now, I am learning a lot about the vast selection of top-level domains, and I would like someone to edit the song so that it’s now http://www.nevergetoveryou.pizza

UPCOMING CONCERTS
• Fred Eaglesmith w/Tif Ginn (October 1)
• Basia Bulat w/Oh Pep! (October 5)
• I Mother Earth featuring Edwin w/The Standstills (October 8)
• BreakOutWest (October 14-16)
• Sarah Slean with the Regina Symphony (October 22)
• Bush w/The Dead Deads (October 27)
• Steve Earle & The Dukes (November 3)
• Bif Naked w/Jordan Alexander (November 8)
• Duotang (December 2)