Posts Tagged ‘casino regina’

SLCR #330: Headstones (November 13, 2018)

November 19, 2018

Headstones reviews are hard to write. They’re really fun shows, but more or less the same every time out. You know it’ll be loud, lots of swearing, probably some spitting (though this has been dialed this back over time and I can’t say I mind), Hugh Dillon will run around in the crowd a lot. I even know which covers they’re going to play. All of this is fine – it doesn’t stop me from going to see them every time they come through town. But I could rerun old reviews for the most part. Hopefully I’ll have enough sense to make this short.

Got to the casino with plenty of time to pick up my ticket. No incidents this time out. Saw the same guy from work that I always see at Headstones shows. Killed time playing phone games until the show started. Christ, this is riveting.

Our openers were the Matchstick Skeletons, who got off to an inauspicious start through no fault of their own when the local radio idiot introduced them as the Matchbox Skeletons before correcting himself. They were fine. Decidedly better than Snake and the Chain from the last show, but far less memorable as a result. “You didn’t suck so bad that I’ll remember you forever” is probably not as much of a compliment as I intend it to be.

They felt restrained at points; the harder songs with more energy were fun, but too many just didn’t quite get there. They also covered Fame and (part of) When Doves Cry and it’s an interesting choice to cover well-known songs by legends. They can be crowd-pleasing numbers but you’re probably not going to compare favourably to David Bowie or Prince – few will. At least When Doves Cry was redone as a rock song, as opposed to the note-for-note soundalike version of Fame.

Speaking of covers, I am the last person on Earth to realize that the Headstones song Tweeter and the Monkey Man is a Traveling Wilburys cover. This is doubly egregious because Mika has played the Wilburys song for me before, years ago, but I forget things. Apparently the Wilburys version has more verses and makes more sense. Talking to Jeff about this, he said that it sounds more like the Wilburys slowed down a Headstones song than the Headstones sped up a Wilburys song. Personally, listening to the Wilburys’ version now, it sounds like when Mika and I are on a road trip and she makes us listen to podcasts at 1X speed instead of my normal 1.5X.

The Headstones were touring to promote the 25th anniversary re-issue of Picture of Health, their first album. This would probably make me feel super old if I was listening to them then. The entire set, before the encore, was the album in full. So a little less variation than their normal shows, but whatever, it’s a good album, lots of songs I like on it. As before, Dillon ran into the crowd a bunch and I felt for the poor techs and security staff who had to chase after him. And as before, they played a bit of Low Rider and New Orleans is Sinking.

After Tweeter, which is four songs in, Dillon asked the crowd to put their phones away so he could tell stories and we could watch the show, adding that he’d let us bring them back out later. Most folks cheered and happily did so. One guy tried taking a video of the next song, which seemed like an unwise choice given that he was close enough to the front for Dillon to see him, and Dillon had already shown a propensity for running out into the crowd. Phone went away. “I’m not going to kick you out or anything, I’m just asking you to be a man of your fucking word.”

The stage setup was pretty simple, but the lights, fog machines, and projector were all employed to good effect and gave the show a really cool look. I got a few pictures at the start and a few more during the encore once the ban was lifted, but I won’t lie – there were still a few times when I would have liked to snap a quick picture. Which is dumb; they never look good and I never go back and look through old ones. Regardless, I wasn’t about to risk incurring the wrath (or disappointment, which would be worse) of Dillon.

I won’t go into detail on the stories – if he didn’t want them recorded, he probably didn’t want them transcribed either – but it was a lot of stuff about growing up in Kingston. Some of it funny, some of it touching. Dillon went to high school with the guys from the Tragically Hip, Finny McConnell from the Mahones, and David Usher. What a ridiculous amount of talent in just a few years.

For the encore, they started with the cover of The Gambler that they now seem to do at every show. Dillon then polled the audience to see what they wanted to hear, and the calls for Cubically Contained lost out to Unsound. Or maybe that was just the plan all along. They also played Fuck You and Smile and Wave and, somewhere in there, a bit of The House of the Rising Sun. Nothing I hadn’t seen before. And Dillon said they’re coming back in 2020 and I’ll see it all again then.

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SLCR #323: Crash Test Dummies (October 11, 2018)

October 17, 2018

You may recall that last summer, I saw the Crash Test Dummies at the Canada Games in Winnipeg.

You may also recall that I became a fan long ago, somehow wound up running their website, and still keep in touch with them a little bit, by which I mean mostly Ellen, and mostly through cat pictures and Letterkenny quotes. I’ve told that story enough.

Anyway, as a long-time fan, I’ve seen them go from being big stars to… let’s just say the opposite of that. The band never officially split up, but album sales dropped off and everyone eventually moved on to do their own thing. That show last year would have made a perfect final chapter to their story. After years apart, the band (mostly) reunites to headline a festival in front of a huge adoring hometown crowd who’s singing along with every word. The concert even ended with fireworks. Freeze frame, roll credits, bonus scene where they’re all enjoying shawarmas.

However, things took a different turn. The band enjoyed their Winnipeg show so much that there was talk of a reunion tour – just a few gigs. That turned into a half-dozen dates in western Canada, eleven in the US, and others to be announced soon. And what’s more, they’re doing well. The press release announcing the US shows got picked up by some large outlets, and Calgary, Saskatoon, and Regina sold out. When they were here last time in 2010, they only half-sold the Exchange. This is a little unexpected (at least by me), but I’m happy and excited for them.

And then we almost didn’t get into the show.

Mika and I got to the casino a little after 7:30 and went to pick up our tickets from the will call. And… nothing. No tickets printed out and waiting in their little ticket box. No record of the purchase on my file. They checked my ID, ran my info repeatedly, found other tickets I’ve bought for upcoming shows. But for the Dummies? Nothing. Jeff showed up and joined Mika off to the side while the boring drama unfolded. The guy at the ticket booth next to me appeared to be having the same issue. The people behind us in line were loving us. I had my phone with the email receipt, which probably saved the day. Eventually, the clerk took some blank tickets, handwrote our seat info, and sent us inside. I was quite certain that this would fail, but it didn’t. And I was even more certain that someone would be waiting at our table, but again, no. Unlikely success!

In retrospect, I do remember the pre-order being particularly glitchy and having to fight to get my order through. And this might also mean the show wasn’t technically sold out, since there was an empty seat at our table. I bought three tickets at a table that seats four; later, I looked into buying the fourth ticket to prevent some random weirdo from sitting with us (I only want weirdos of my choosing), but it said it had been sold. Thanks, God or random ticketing system glitch! You saved me some money. And since the seat wasn’t available to be sold, I declare that the sellout stands.

With no opener, the show was underway at 8:00 on the nose. Business was meant and bedtimes were to be adhered to. As mentioned, the band was (mostly) reunited, with Brad Roberts, Ellen Reid, Dan Roberts, and Mitch Dorge joined by touring guitarists Murray Pulver and Stuart Cameron, and a keyboardist I don’t think I’ve seen before who I’m about 60% sure was named Marc. No sign of original member Benjamin Darvill, who’s still finding success as blues harmonica beatbox oddball Son of Dave. I’m mostly out of the loop these days, but the one piece of insider gossip I’d love to know is whether or not anyone asked Ben if he wanted to do the tour. I suppose it doesn’t matter since I can’t imagine he had any interest.

The setlist for the show wound up pretty similar to last summer’s, which was mostly a greatest hits collection with a few new songs thrown in. They opened with God Shuffled His Feet (during which Ellen spotted me and gave me a subtle wave) and Replacements cover Androgynous. I’ve seen the Dummies six times now and these are two of the five songs that they’ve played at each show; the others being the only two songs most of you would know, Mmm Mmm Mmm Mmm and Superman’s Song, and Ellen’s big showcase (and XTC cover) The Ballad of Peter Pumpkinhead.

After all these shows, I still heard a few songs that I hadn’t seen them play live before. In preparation for their US dates, where they’re playing the God Shuffled His Feet album all the way through, they did When I Go Out With Artists. During a block of songs from their most recent album Ooh-La-La (now eight years old), they played Not Today Baby. And then Ellen stepped up to sing one of Brad’s songs, her favourite Dummies song. I was pretty excited for this – I’d never heard her do one of his songs before.

“And not only is it my favourite Crash Test Dummies song, but my favourite Crash Test Dummies fan is here tonight.”

I may have quietly said one tiny swear word.

Ellen called me out by name, pointed at our table, and dedicated the song My Own Sunrise to me.

“Well, it’s an overtly sexual song, so it’s not FOR YOU. But it’s for you.”

That she’d say or do anything at all was really sweet, especially coming at least a full decade since I’ve had any sort of official involvement with the band. But moreover, it was a song I hadn’t heard live before in a way I’d never heard. Over the years, I’ve tracked down all the rarities that are out there – I’m pretty sure that McSweeny’s article was about me – but this was brand new and super exciting and honestly really special.

Mika, as soon as the song was over: “Did Ellen just sing you a song about boners?”

I mean, technically, yes. A radio-friendly song about boners. My own sunrise! Metaphors!

So. Ellen’s take on the song was great, but I might be biased now and you’ll have to go see them live to hear it anyway. She followed it up with Make You Mine, introducing it with “This song is about being angry, which I’m not, because I’m 52 and I’m over it.” This is my favourite song off her 2001 solo album, something else I’d never heard done live before and something I definitely wasn’t expecting. At this point, I was all in – hearing these two songs back-to-back made me feel like I was back at that first concert at the peak of my fandom. I had been looking forward to the show but really wasn’t expecting to get this invested in it.

The main set was done in about an hour, though they did four more songs when they came back out. I may have gotten chastised for not standing to applaud. And then told to remain standing once I did get up. A highlight of the encore was my favourite Dummies’ song, Afternoons and Coffeespoons, with just Brad and Ellen singing and Stuart on guitar – a real showcase for him. Of the Dummies shows I’ve seen, this was probably the best one musically, but hiring Stuart and Murray to play in your band is like hiring Daryl Strawberry and Ken Griffey Jr. to play on your company softball team. Just keep those boys away from the brain and nerve tonic.

The band killed it, Ellen stole the show, and Brad sounded like he ever did, except more relaxed. Really, what stood out to me was that everyone seemed to be having so much fun. Especially Brad – there were moments where he was genuinely smiling and laughing and I know that sounds super weird, but he always comes across as very performative when he’s on stage, so it was good to see him let his guard down.

Here’s the whole setlist:

God Shuffled His Feet
Androgynous
The Ghosts That Haunt Me
Swimming in Your Ocean
The Ballad of Peter Pumpkinhead
Heart of Stone
Not Today Baby
Songbird
In the Days of the Caveman
When I Go Out With Artists
My Own Sunrise
Make You Mine
Two Knights and Maidens
Mmm Mmm Mmm Mmm
-encore-
Afternoons & Coffeespoons
He Liked to Feel It
Put A Face
Superman’s Song

Jeff headed out when it was over (after facilitating a vital Pokémon trade between me and his wife which I did my best to thwart), and Mika and I stuck around to quickly say hi to the band and get handshakes and hugs and a brief serenade. Possibly this all didn’t happen quickly enough, according to the people in line behind us, but that’s why we waited until almost everyone else had gone through the line. Apparently it was a day of being bad at casino lines.

SLCR #313 – “Weird Al” Yankovic – June 1, 2018

June 11, 2018

The thing about a Weird Al show is that the format is always the same. Lots of costume changes. Lots of video clips between songs to accommodate the costume changes. A bunch of songs off the newest album and lots of his classics – hey, he paid for that fat suit, may as well get as much use out of it as he can. And it ends with Yoda. There’s a chant in Yoda. It gets longer with every tour.

Understand, I’m not complaining. Just making an observation. There were eleven years between my first and second Al concerts, and even with that gap, that second show felt pretty familiar. You get some new songs, costumes, sets, and videos every time out, but still.

If this was a little samey for me, one wonders what it would be like for Al and his band. The theatrics and the choreography, while fun, mean that his show is heavily scripted and there isn’t room for improvisation or mixing things up. There’s no opportunity to say “screw it, let’s play Running With Scissors front-to-back tonight.” It’s pretty much set in stone.

A while back, I read an interview where Al talked of doing a different kind of tour, one geared toward hardcore fans. Smaller venues, no costumes or videos, and – the biggest change – he’d forego his famous parodies in favour of playing his lesser-known original songs. A different setlist every night, even. This was extremely my thing. I didn’t think it would actually happen, but sure enough, last fall, Al announced the Ridiculously Self-Indulgent, Ill-Advised Vanity Tour. While I was definitely prepared to travel for this, instead, he was coming here. What a groovy guy! Now I just had to wait the eight months for the tour to get here.

Having experienced the VIP… uh… experience the last time out, Mika and I got normal seats this time like god damned commoners. We went to the show with Jason (from my work) and his wife Melissa – you may remember them from at least one previous concert (Corb Lund) that we went to (translation: I totally invited myself along to their night out). Lots of parenthetical asides in this paragraph but they’re all very important to give you the full story.

Before the show, Jason said he was hoping for Trigger Happy and The Night Santa Went Crazy (the extra-gory version) (obviously). My picks were The Biggest Ball of Twine in Minnesota, Stop Forwarding that Crap to Me, and Skipper Dan. Looking at setlists from other cities, I knew at least some of these were in play. I wasn’t about to get my hopes up, though.

We got to the show and I took a quick look at the stuff table. Nothing too exciting. The usual shirts and stuff. There were some enamel pins that were nice but expensive and I’d never wear them anyway. I also saw something that indicated that all of the concerts from this tour were going to be made available on Stitcher Premium, a for-pay podcast service. Took a peek and didn’t see anything yet. If this does come to pass, I’d give it a shot.

Long ago, Al used to have local comedians opening for him. I only ever saw this once, at my first Al show in 1996. I don’t remember much about the comedian. He worked clean, albeit with a lot of poop jokes. And hockey jokes. And he combined them to make Darren Puppa jokes. Again, it was 1996. Shortly thereafter – and probably having nothing to do with the guy who opened at my show – Al quit having opening acts. He found it hard to vet the comedians, so sometimes the opener would wind up using material that was inappropriate for the audience. Plus, as Al’s show became more elaborate, it also became longer, making an opener feel less necessary. But for this tour, he was bringing an opener with him – Emo Philips. Philips is best known to Al fans as the shop teacher who accidentally saws his fingers off in the movie UHF. Or at least best known to me for that – I hadn’t heard any of his actual stand-up before this. Turns out his delivery is actually quite similar to that of his UHF character, soft-spoken and stilted. I can see some people not being into that, though I thought he was pretty funny. He worked clean and mostly told one-liners – “I like to play chess with old men in the park, but where do you ever find 32 of them?” – with a few physical bits thrown in too. The crowd seemed to really like him, though there was one pun that didn’t get nearly enough love and one aside I loved that went completely unrecognized. So it goes.

Following a brief break, Al’s band entered and played the instrumental tune Fun Zone before Al entered and launched right into Close but no Cigar (with Al playing what I can only call the rattly percussion thing). We wound up with a 19-song set spanning Al’s entire career. There were classics (You Don’t Love Me Anymore), songs I’d entirely forgotten (I Remember Larry), and songs that would maybe be best forgotten (Mr. Frump in the Iron Lung). Buy Me A Condo stood out as particularly dated, both because I’m pretty sure a white guy trying to sound Jamaican wouldn’t fly today and, more so, it suggests that “wall-to-wall carpeting” is a status symbol instead of something to rip out.

There were also some of Al’s soundalike style parodies, like the Dylanesque all-palindrome song Bob and the I-didn’t-realize-it-was-supposed-to-sound-like-the-B-52s-but-in-my-defence-I-was-very-young-when-I-first-heard-it Mr. Popeil. And, what with it being June and all, they played Al’s entire catalogue of Christmas songs – both of them. And yes, it was the extra-gory version of The Night Santa Went Crazy, so I’ve now heard a theatre full of nerds cheer at the announcement that Santa Claus has been caught and compromised to a permanent end.

During the more energetic songs, there was one guy who’d jump out of his seat, run up to the front at the far edge of the stage, and, indeed, dance like no one was watching. I don’t know how one cultivates the attitude of “yes, I will be the only person at this whole concert dancing wildly to Party at the Leper Colony.” Maybe you have to be born with it? I don’t know. But I feel like maybe it’s something to aspire to. Not that particular song – even Al said he wasn’t proud of it – but the general idea. I think that dude probably had more fun at this show than the rest of us. And he was even considerate enough to not block anyone’s view.

For the encore, Al asked for requests and everyone went nuts. He finally decided that he’d choose one person and play whatever they wanted – so of course, he picked his guitarist, who wanted to hear some Black Crowes, so that’s what they played. Every night on this tour, they’ve been playing a different cover song. Not a parody – just a straight cover. Ours was Hard to Handle. Looking at some others they’ve played recently (including Rebel Rebel, Magic Carpet Ride, Summer Nights, All Right Now, Aqualung, Foxey Lady, and Good Lovin’), I’m very pleased with the one we got – it would have been my pick out of all of those. I suspect Al had a cheat sheet for the lyrics – he seemed to spend a lot of time looking at something that wasn’t the crowd – but maybe I was just seeing things that weren’t there. Either way, it didn’t hurt things any if he did.

People who really wanted the parodies weren’t entirely out of luck. For the last song before the encore, the band started into the unplugged version of Layla, but Al sang Eat It instead. This kicked off a medley of some of his most famous parodies, all with new incongruous arrangements. And after Hard to Handle, they finished with his American Pie parody, The Saga Begins. Always gotta end with Star Wars – though as different as this whole show was, not ending with Yoda and the chant still stuck out.

Here’s the whole setlist, taken from setlist.fm in a rare case where I don’t have to complain about how wrong it is:

Fun Zone
Close But No Cigar
Bob
Buy Me a Condo
Christmas at Ground Zero
Good Enough for Now
I Remember Larry
If That Isn’t Love
Airline Amy
You Don’t Love Me Anymore
I Was Only Kidding
The Night Santa Went Crazy (extra-gory version)
Party at the Leper Colony
Mr. Popeil
Mr. Frump in the Iron Lung
Jackson Park Express
medley: Eat It / I Lost on Jeopardy / Amish Paradise / Smells Like Nirvana / White & Nerdy / I Love Rocky Road / Like a Surgeon
–encore–
Hard to Handle (Black Crowes cover)
The Saga Begins

As we left, Mika asked if I got to hear all the songs I wanted. Honestly, I didn’t – I went 0-for-3 with my wishlist. So I definitely would have changed the songs up if given the chance, but I still was glad with what we got and happy just to see a show on this tour at all. I got a new appreciation for some songs I’d overlooked or forgotten, and do I even need to mention that Al and his band were great? (I pretend that these are “reviews,” so I guess, yeah.) They’re all super talented and complete professionals, switching seemingly effortlessly between musical genres from song to song. I suppose you don’t have a celebrated 40-year career without working hard and being good at your job. Good thing I’m fine with an uncelebrated one.

UPCOMING CONCERTS:
• BA Johnston w/Johnny 2 Fingers & The Deformities (June 15)
• The Flaming Lips w/Wand (June 22)
• Gateway Festival feat. Kathleen Edwards, Steven Page, John K. Samson, Elliott BROOD, more (July 28)
• Arkells (August 2)
• Regina Folk Festival feat. Neko Case, Tanya Tagaq, more (August 11)
• Frank Turner & The Sleeping Souls (September 12)
• The Fred Eaglesmith Show Starring Tif Ginn (September 23)
• Cadence Weapon w/Fat Tony and Hua Li (October 2)
• Crash Test Dummies (October 11)
• They Might Be Giants (October 20)
• Hawksley Workman & the Calgary Philharmonic Orchestra (April 13)

SLCR #310: Letterkenny Live (March 29, 2018)

April 18, 2018

Tacking a half-assed bonus review onto the end of a real concert review (if you can call what I do that) (you likely shouldn’t) is a semi-regular feature that I haven’t used in a while. Or at least that’s what I thought. Looking back at the Big Word Document of Old Reviews, it turns out that I’ve done this all of three times. And the last one was in 2007. And it still is – this was going to be a rush job, a hidden treat (again, likely not) for anyone who bothered to read to the end of my Sloan review, but I’m pretty sure this is longer and I spent more time on it, so now it’s its own thing.

I don’t normally review non-concerts, but for this show, I had actual requests. Or a request, anyway, which is infinitely more interest than anyone – including myself – ever shows in these things.

Letterkenny is a Canadian comedy on CraveTV. For the rest of the world, you can find the first seasons of the show on DVD. More relevantly here in 2018, they’re surely on your choice of let’s-all-collectively-pretend-it’s-legal Android streaming box. Letterkenny follows the adventures of a small rural community’s hicks, skids, and hockey players; adventures which amount to a lot of drinking, fighting, and wordplay. Mostly that last one. Anecdotally, it seemed like a decent number of people I knew watched the show, but I didn’t realize it was popular enough to quickly sell out the casino, add a second show later that night, and sell that out too. They’d later tell us that Regina had the fastest sellouts on the whole tour. Pitter-patter indeed.

The shows were built around stand-up sets by Mark Forward (who plays the coach of the Letterkenny Irish) and K. Trevor Wilson, who plays Squirrely Dan. If I tell you the jokes, the jokes aren’t funny anymore. I suppose that doesn’t much matter now that I sat on this forever and the tour is long over. But still. Of the two, Forward was, well, more forward, berating the audience for a perceived restrained reaction, and going into the crowd to find one woman who had a particularly distinct laugh. Wilson’s set was decidedly less confrontational. Of the attendees I talked to (all three of them), they all enjoyed both but preferred Forward’s set. I can see the appeal of both. Wilson’s more traditional act would fit well in an episode of Just For Laughs – I can make this trenchant insight because I’ve seen him on Just For Laughs – while Forward was working harder to try different things and grab people’s attention. Though as someone in a floor seat, I do prefer to not run the risk of becoming part of the show. I might be 10-ply.

I’ll note that as Wilson took the stage, he entered to a familiar-sounding piano tune. Before I could say anything, yep, it was Bobby Roode’s Glorious theme. Half of you are very familiar with this. For the rest of you, it’s a wrestling thing, don’t worry about it (but maybe Google it because you should hear it at least once). Wilson was also wearing an Austin Aries t-shirt (another wrestling thing, don’t worry about it), which I tried to point out to Mika, but she cut me off, saying “yes, I noticed. This is my life now.” On one episode of Letterkenny, Squirrely Dan compares the subtle differences betweens the Texas cloverleaf and the scorpions deathlock; I thinks it’s safe to says he wrote that bit himself.

The rest of the show featured live skits starring the three main characters (Wayne, Daryl, and Squirrely Dan) – some new, some fan favourites. A bit of the new material was unique to Regina, which was appreciated. If you’ve seen the show, you might know what I’m referring to when I say one of the classic bits featured a game of Would You Rather, while another saw Squirrely Dan – not one to kiss and tell – recount his night out with a girl and where she reckoned attentions needs to be paid. There were also a few videos – one clip from the new Easter special, and two that were new (at least to me): motivational advice from the hockey coach and an ad for Daryl’s dairy.

The new videos were pretty funny, and the live material translated well from TV, which makes sense – the show focuses on witty dialogue and less on physical or visual humour which would be more difficult to replicate in a live setting. I really enjoyed this, and while I wouldn’t have said no to more new Letterkenny material and fewer bits lifted from the series, to be faaaaaaaaaaaaaaaair (you know they saved that until the end and you know it got the best reaction of the night) we got exactly what was promised and the adoring sold-out crowd ate everything up. I’d say it was ferda if I had any idea how to use that word properly or what it even meant.

SLCR #304: Corb Lund (November 23, 2017)

November 29, 2017

I like Corb Lund. Saw him before and enjoyed it. Wanted to see him again. Not everything is interesting.

With Mika in school, on this night I was accompanied by Jason and Melissa, a friend from work and his wife. You may recall them from when we went to see the UFC in Saskatoon together, except that wasn’t a concert so I didn’t tell you about that. Jason was kind enough to not only let me invite myself along with them but he even picked up our tickets. He put us in the front row of the balcony; fine work.

The last time I saw Corb Lund at the casino, you may remember that I complained about all the big-ass trucks in the parking lot. It turns out that I didn’t know from big-ass trucks; when you go see a country singer while Agribition is on, it’s a whole ‘nother level. Of trucks. As is becoming tradition, I composed and sang a song to myself during the ever-frustrating drive through the casino parkade. It had swears.

I’ve mostly never been to Agribition. Doesn’t seem like my thing. One time I walked past a bunch of closed exhibits to go see Willie Nelson at the Brandt Centre, but I don’t think that counts. I know very little about it other than when it’s on, you can’t find a hotel room in town. Folks from all over the province come in big-ass trucks to see… I don’t know, whatever there is to see at an agricultural exhibition. They also like going to country shows.

I got to the casino with 10 minutes to spare and met up with Jason and Melissa in the balcony. The last Corb show at the casino had floor seating too, which wasn’t quite ideal for a crowd that wanted to get drunk and rowdy. This time, they’d left the floor as standing-room, which… again, not quite ideal. You can’t win, casino. Earlier in the day, I read that this show and tour was called “BS With CL” – instead of a full band, Corb was going to be out there by himself with just a guitar. There was a phone number where you could text Corb your questions and he’d answer some of them and tell stories as the show went on. I thought it was a little odd that there was no mention of this in any of the casino’s advertising for the show (at least, nothing that I saw). Had I not seen that one Facebook post, I’d have been expecting a normal concert. Don’t get me wrong – I’d rather see something unique. I just think if an artist is going to be doing something markedly different from normal, you might want to tell people before they buy tickets. The casino is very upfront about Weird Al’s upcoming show being a significant departure from his usual shenanigans, and Saskatoon’s Broadway Theatre used the BS With CL name and description in advertising, so I don’t know what happened here.

I wasn’t sure if we were getting an opener, but the show was kicked off by Mike Plume. I knew the name, not sure from where. He’s pals with Corb and I suspect if you like one, you’d like them both. He sang a short set with a lot of Canadiana – songs about hockey and Stompin’ Tom and working in Fort Mac and Remembrance Day and the country itself. It seemed like he won the crowd over by the end of it – the ode to Stompin’ Tom was a particular favourite and has been stuck in my head off and on since then.

Corb was out after a noticeably brief intermission, and yep, the whole set was just him and a guitar (apart from a few songs where he was joined by Plume, so it was two guys with guitars). I don’t think you could complain about the setlist – it was packed with old and new favourites and there wasn’t much you could have been left wanting. Looking over Corb’s discography now, it occurs to me that 1) I’ve listened to a fair bit of his music, 2) it’s real good, and 3) he sampled pretty evenly from all his records. Really, if you wanted the Corb Lund starter kit, this setlist was perfect. The biggest reactions were saved for Five-Dollar Bill and The Truck Got Stuck, as well as anything that mentioned Saskatchewan or places therein (Hurtin’ Albertan, Long Gone to Saskatchewan, and the one Plume song they did together, The Big American Headliner). Really, between Lund and Plume, there’s no way I’ve been to a show with more local references, and they’re both no-good Albertans. Plume may be a transplant from New Brunswick, but still. No-good Albertan.

As far as the BS part went, there really wasn’t a ton. Corb had his phone on stage and checked it for questions, but there wasn’t much more talking than a normal show. He went into a little detail about Talkin’ Veterinarian Blues, Family Reunion, The Truck Got Stuck, and personal favourite S Lazy H. A lot of his stories centred on which of the songs are based on true stories. Answer: a lot of them, though they have made-up parts too. Which is what you’d expect.

I thought this was great, but it did seem like maybe this wasn’t the show the Agribition crowd wanted. You could hear an awful lot of distracting talking coming from the folks on the floor. I think there was a pretty sizable contingent that wanted to get drunk and rowdy and this didn’t really provide the opportunity. I mean, some did anyway, but nowhere near what you’d expect. I really dig Corb but find his fans to be a bit much sometimes. I keep going to see him, since he’s great and all, but you need to prepare yourself for the drunken yahoos you may encounter. This seemed like it was less of a show for them and more for me, so, y’know, no complaints here.

I say “Corb Lund fans” as if I’m not one, but somehow, Corb became one of my favourite musicians. I didn’t even really realize it until I was thinking about it today and realized just how much of his stuff I know well and enjoy. I’ve liked him for a long time, but I wouldn’t have ever thought to list him among my very favourites, but somehow, that happened and I didn’t even realize it.

Or to put it all another way, enjoyed it. Want to see him again.

SLCR #302: Headstones (November 17, 2017)

November 21, 2017

We’ve seen a lot of 90s Can-rock shows of late. Of them all – Watchmen, I Mother Earth, Big Wreck, Our Lady Peace, Limblifter, Age of Electric, Big Sugar, The Tea Party – I enjoyed the Headstones the best. They weren’t my favourite of that list back in the day – that would be Our Lady Peace – but the Headstones stuff holds up the best for me. I really enjoyed their show last year and was looking forward to their return.

This time out, they were paired with SNAKEandtheCHAIN. I didn’t pick the spacing and capitalization. When we arrived at the casino, there was a Headstones banner on stage, partially covered by a SNAKEandtheCHAIN banner. It looked like we were there to see HEASNAKEandtheCHAINNES.

You may recall that I saw Bif Naked on the night of the US election – how it is possible that was only a year ago? – and that night, her guitarist was her husband, Snake. If I didn’t call him Snake Naked then, I apologize. I should have. Anyway, he’s the Snake (or SNAKE) of SNAKEandtheCHAIN. At one point, they got referred to as “SNAKEandtheCHAIN featuring Bif Naked,” so I assume the third guy, Kuryakin, is the chain. Or CHAIN. And Bif’s just Bif.

I mentioned this last year but here’s a quick refresher regarding my feelings about Bif Naked: I used to like some of her stuff before losing interest. It was nice to see her last year, but I didn’t leave that show feeling like I’d rekindled my fandom or anything. Still, I was interested to see what her new band was all about.

The show started with Snake and Kuryakin. Snake hooked up an iPhone and lip-synched I Can’t Help Falling in Love with You. I guess he did sing some of it, since he tried to sing “take my hand” over the “shall I stay” part. Let’s assume they were just going for something silly here.

Bif Naked joined them and they launched into their first proper song, Heavy. Over the kind of music a wrestler would have entered the ring to in 1999, Bif told us, over and over, that her baby, she likes it heavy.

Then she asked who there had a safeword. “MORE is my safeword,” said Snake. Did you think that was a clever joke? Would you still think that was a clever joke after a song that repeated it over and over?

Somewhere in the crowd was JP, a guy I know from work. I’d say “a friend from work” but we never actually talk, apart from when I email him to tell him that the Headstones are coming to town, and he emails me back to let me know that he already knew (but thanks). I sent him a note on Facebook. I NEEDED to know his opinion of what we were watching.

Before the next song, Snake Naked said “you can’t even look at a woman these days without getting arrested.” Now, I’m a reasonable person. I’m willing to accept that this was said in jest. But it sure didn’t sound like it, and apart from one fellow who was in vocal agreement, the crowd didn’t really seem to know how to take it. This led into a song “about a bad boy named Frankie” who “forgot to thank me” and is “gonna get a spanking.” You may note that Frankie, thank me, and spanking all kind of rhyme. We eventually found out that Frankie forgot to thank Bif Naked for, among two other things, “swallowing your cum.” This went on for… I mean, it couldn’t possibly have been a half-hour, but it didn’t feel any less.

Next, Bif started telling a story about how Snake broke free from a Siberian prison to be here today. Mika asked if I’d like to go get drinks in the lobby instead. So we did. The bar in the casino lobby is famously slow. It took over 20 minutes to get our drinks with only maybe 10 people in front of us. I didn’t mind. We could have been back in the show lounge listening to SNAKEandtheCHAIN. Things could have been worse.

I will say that some people seemed into the show. These people were wrong, but they definitely existed. Meanwhile, we were throwing around “what the fuck was that,” “I feel embarrassed for them,” “worst band I’ve seen in years and maybe ever,” “I’m starting to reconsider my feelings about Cage the Elephant,” “do you think he’s holding Bif Naked hostage,” and “but seriously, what the fuck was that?”

On Facebook, JP replied that he’d found a good spot to stand, otherwise he’d have left too. I guess the standing spot wasn’t THAT good as we eventually saw him and his brother in the lobby. We traded theories about what we had just seen. Mika suggested that the Headstones owed Bif Naked money and so they had to let her band come on tour.

As we nursed our drinks in the lobby, we could faintly hear that they were playing Bif Naked hits Spaceman and I Love Myself Today. I choose to assume they were done well. I considered going back to listen to them but thought better of it.

I try to be positive when I write these things and I accept that some things just aren’t going to be my jam. So I will say that the sound system was good and we could hear all of the insipid repetitive lyrics really clearly. And Bif Naked seems like a really nice lady and I feel kind of bad about this whole thing. But this was terrible.

Drinks done, SNAKEandtheCHAIN (and their banner) gone, we went back into the show lounge. What can I even say about the Headstones after all that? They were exactly what you’d expect and exactly what I wanted from them. Loud, all their hits, all the fan favourites, some new stuff. And a few covers – they did The Gambler which they said they’ve been playing live ever since doing it in Regina last time and the crowd went nuts for it. And in various songs, they did part of Low Rider and two Hip classics, Blow at High Dough and New Orleans is Sinking. The show sold out a while back and people were really into it.

For a bunch of the early songs, there was one guy whose whole job seemed to be microphone cord wrangler so that Hugh Dillon could run out into the crowd. Eventually they got him a wireless mic. Dillon ran right past us, brushing past me, then came back and was singing Low Rider about four feet from us. This was all very cool.

Fun time, would go again. And yet, I couldn’t help but feel they were overshadowed by SNAKEandtheCHAIN. I mean, I enjoyed the Headstones but I’ll remember SNAKEandtheCHAIN for years.

On the way out, we walked by someone who said that Hugh Dillon was a badass and that the Headstones would chew up SNAKEandtheCHAIN and spit them out. Which, really, is all you need to know. There’s a lesson there about being concise; one I will surely ignore.

SLCR #293: Steve Earle & The Dukes (September 27, 2017)

October 8, 2017

Feels like it’s been a while since I’ve done one of these. Not really by choice; I bailed on a few recent shows. Sorry if you pay attention to that UPCOMING CONCERTS blurb and were real interested in my takes on The Sadies and BA Johnston. (I would have said “they were good”) I blame work. Had some late nights to prep for a new product launch, and I get to do it again shortly. So it goes. I made a little extra coin and got a pile of tickets to new shows to make up for it.

Onto Steve Earle. Good fella. Good songwriter. Good musician. Saw him last year. He came back to town surprisingly quickly, and I was on the fence about going. Not because I had a bad time last time – liked him a bunch – but I’m starting to feel the pinch from going to a million shows a year and I need to dial it back a bit. Plus the casino switched to a new ticketing system and it was tricky, at first, to actually select a seat – you could only pick a section. But then they got their act together (or I did – who really knows?) and it became one of those “I’m having a rough and/or boring day at work, I need a treat” concerts. I’d say there will be fewer of those going forward, but history shows that only lasts for a month or two and then I’m back at it.

I can think of very little of interest surrounding this show. It sold out, I guess that’s important to mention. And it was relevant upon arriving, as the drive into the parkade was ridiculous. I screamed helpful advice from the inside of my car (“POINT YOUR CAR TOWARDS THE RAMP AND THEN DRIVE UP IT”) but nobody heard or heeded it. It was slow-moving mass chaos. Someone would try to park and nobody would know what to do. There was no danger of running out of spaces – the parkade has an entire extra level that nobody seems to know is there. Except me, I guess. I parked up there, above the rest of humanity, free from the maddening crowds but an observer thereof. Then I walked down the same pee-smelling stairwell as everyone else.

I had a cheap aisle seat at the back row of the balcony. The folks in my row were pleasant and didn’t make me get out of their way too often. You’re bored right now but I assure you this was nice. And I don’t have a whole ton to talk about.

Our openers were The Mastersons, who I’d never heard of except it turned out I’d seen them before. They were two members of Earle’s band last time he was in town. And this time. Earle himself opened the show by introducing them, which I thought was a really nice touch. Their songs were country-ish singer/songwriter stuff with him on guitar and her usually on guitar or fiddle. That’s not saying much but I feel like you get the gist of it. The sound wasn’t great for their set – the instruments were fine but the voices were mic’ed really high (so it was the opposite of my usual complaint, at least) and came in kind of shrill. Nearby fellow old people said the same thing.

Earle and his band, The Dukes – I want to say six people in total – entered the stage to the sounds of Johnny Cash’s cover of Rusty Cage. Last time out, they were on the anniversary tour for Guitar Town and played the whole album start to finish. With a little more freedom in the setlist this time, I thought I might hear more songs I knew, but that didn’t really happen. Instead I just got a wider variety of tunes that were new to me, along with a lot of the same hits and covers (Copperhead Road, Guitar Town, Devil’s Right Hand, Hey Joe) as before. And like before, this was all real good. The vocals were a little muddy but still better than they were for The Mastersons.

Apparently, I don’t have much to say. It might also be apparent that I wasn’t 100% into this show. Not the band’s fault – I was just kinda tired and I was ready to be done a little bit before they were. But whatever. I still had a nice time and all.

SLCR #273: The Tea Party (March 18, 2017)

March 20, 2017

I can write this in 15 minutes before bed, right?

A little better than 20 years ago (god), Pat invited me to go see The Tea Party with him at Louis’. I didn’t know anything about The Tea Party and I didn’t really know Pat that well – it was the first time we ever hung out without Deserée around – but he had a spare ticket and knew that I was generally up to go see any band for any reason. Apart from being historic in my friendship with Pat, this gig was fondly remembered because it was Halloween and there was a girl there in a genie costume (think Barbara Eden) that remains memorable to this day. Even without that, I had a fine time though Pat was somewhat disgusted that I was so ignorant about the band yet still found myself with a coveted ticket for the sold-out show.

Back in 2011, 6 years and 110 reviews ago, I saw The Tea Party for the second time, this time because Mika wanted to go. During that 15-year span between concerts, the band went on hiatus for many years. I was barely more familiar with them the second time out and wasn’t really super pumped to go, but they put on a really good (and, again, sold out) show. Though they sounded the same as ever, their personalities had softened over the years and that was a pleasant surprise. Also, I’m pretty sure that this was the last show I ever went to at the Distrikt but if I have 15 minutes, I’m not about to fact-check that.

Now it is 2017. There’s been another Tea Party album since then. They still own teaparty.com and I don’t imagine that’s as valuable as it would have been back in 2011 but it’s still probably worth something. They’ve moved from the late lamented Distrikt to the much larger casino but this show still sold out a month in advance. This makes three straight shows where I’ve been surprised by how popular they are and you’d think maybe I’d learn something from this.

It was also the first time I’ve ever been to a sold-out show at the casino where they offered general admission standing room on the floor. You can fit a lot of people in there. And there were some characters. Mixed in with a ton of people who looked like me (old doughy dudes in Louis CK cosplay), there were definitely some interesting choices of attire, haircut, and makeout technique. It was some of the best people watching I’ve had outside of Las Vegas.

The Tea Party has been around for quite a while, and this was the 20th anniversary tour for their album Transmission. I had an earlier album, The Edges of Twilight, but was only familiar with Temptation, the big single from Transmission. I had big plans of giving the album a once-through before the show, but when I went into my Apple Music, one of my daily playlists it chose for me was Jukebox Hits: ’90s Alt, Vol. 1, so sorry guys, you lost out to Spacehog and Marcy Playground.

Someday I’ll remember that whenever I hear a song that sounds vaguely familiar, like the most generic 90s alt-rock song possible, it’s always, always Silverchair. But I digress.

Anyway, as one would expect, The Tea Party played all of Transmission, though not in order. This nicely solved the issue that can develop with these play-the-whole-album anniversary shows; namely, everyone knows the hits from the first half of the album and nobody knows the back half. This let them build to and close with Temptation instead of starting with it.

After no opener and a bit of a late start (20 minutes – not even worth noting at most shows but an eternity in casino time), playing Transmission took about an hour. After that, they took an intermission and came back for the second half. Or the third third, really, since the second part was only about a half-dozen songs. There were a few more songs I knew (Heaven Coming Down, Sister Awake, The Bazaar) and also a selection of covers, including Heroes and Paint It, Black.

I mentioned before that the band’s personalities had softened over the years. Back in the day, they wrote dark, moody, mysterious songs. Now, they joke about writing dark, moody, mysterious songs. I can’t see The Tea Party of 20 years ago doing that, and I especially can’t see them starting Sister Awake and using that to segue into U2’s With or Without You because it was St. Patrick’s Day yesterday and it kind of fits, so why not?

Like at the previous shows, I was not really the intended audience but I still thought they were quite good. If you want actual musical opinions, I don’t know. I liked the harder stuff better than the more ballady parts. The Middle Eastern influences that have always been their differentiators are always interesting. They mentioned some of their 90s contemporaries like I Mother Earth and Moist, and I liked The Tea Party’s show better than when we saw those bands at the casino. (Mika liked I Mother Earth best of the three. But we still appreciated your efforts, guys from Moist.)

Back in the day, I’d go to shows with Pat and he’d go to the bathroom and come back and report on weird goings-on. As such, it was only fitting that Mika came back from the bathroom to let me know that someone was loudly complaining that the casino was cleaning the bathroom during intermission (note: this was not actually happening) and that if the four people ahead of her in line didn’t hurry up, she was going to piss in the sink. This is not something that I’ve ever encountered in the men’s room. I wondered what kind of person does that, since most drunk dudes I encounter at concerts just want to be loud and don’t bother with making words. Luckily, I was able to find out! As we were leaving, a very tipsy but very friendly lady told us how much she liked our glasses (specifically Mika’s; I only got added into the compliment through some initial confusion) and wished us a good night. I was later informed that this was piss-in-the-sink lady. I was pleased to make her acquaintance and glad that, wherever she eventually wound up peeing, she had a pleasant evening.

UPCOMING CONCERTS
• Bill & Joel Plaskett w/Mayhemingways (March 23)
• Lisa LeBlanc (March 30)
• I Love The 90s feat. Salt N Pepa, Vanilla Ice, Color Me Badd, Young MC, and Rob Base (April 1)
• The Last Waltz Remembered feat. Corb Lund, Matt Andersen, Amy Helm, & the Russell Broom House Band (April 5)
• BA Johnston w/Napalmpom (April 28)
• kd lang (August 26)
• Guns N’ Roses (August 27)
• Martha Wainwright (October 22)

SLCR #272: Blackie & The Rodeo Kings (March 8, 2017)

March 14, 2017

As I’m writing this, it’s Sunday night at the end of my week-long staycation. With weekends and an EDO, I had nine straight days off work for the first time since last summer. This is coming after a months-long project that felt like it took years. I’ve always looked forward to vacations but this was the first time that one was really necessary, and I won’t lie, it was great. I ate whatever I wanted, read a few books, got some long overdue housework done, and got my 10,000 steps a day despite uncooperative weather. All told, it was delightful and the only sad part is that I have to wait THREE WHOLE WEEKS before I get to do it again. Good thing I have this coming Friday off; I don’t know how I’d survive otherwise.

There’s something to be said for banking ALL the overtime.

I did something else on my time off too. I wrote a song! It was on the way to this show, actually. I must have felt the music in the air. I haven’t recorded anything yet, but it’s called “Driving Behind Some Dickbag in His Stupid Orange Kia Soul.” Those are the only lyrics too, but the punctuation changes when you sing it. Distribute exclamation marks like so: “Dick! Bag!” and “Ki! A! Soul!”

My good vacation mood buoyed me through a fruitless hour-long search of the mall for a new pair of texting gloves (got some since then, hooray) and carried on to when I met up with Mark, Arlette, and Arlette’s son Kenton at the casino. Mark said I looked taller. I think it was because by that point, I had spent nearly a week not being crushed by the weight of the world and I was able to return to my normal, God-intended height. This was probably bad news for Kenton since I wound up sitting in front of him.

By sheer happenstance, our table was next to that of another coworker, Paul, and his wife. Paul is one of my absolute favourite people to irritate; more than once he has called me a “fucking fucker” while changing colours. But I’ve switched jobs and I think he mostly works from home now, so I was so surprised and delighted to see him that I forgot to wreck the evening for him. Next time.

You may remember that about a year and a half ago, I saw LeE HARVeY OsMOND at the Exchange. This was much the same deal in that Tom Wilson is in B&RK (it’s a long band name to type and they must have approved of this shortened version since it’s on their bass drum) and is in (or just is?) Lee Harvey Osmond (one wacky spelling permitted per review). And again, I didn’t really know any of the Kings’ music before the show. And again, Thompson Wilson (Tom’s son) was opening. And again, we were there with a ton of people Mark knew because Mark and this dude named Carver know a lot of the same people and Carver became pals with Tom Wilson through means I was once told but now only vaguely remember. And I still don’t think I’ve ever actually met Carver despite having been in his presence innumerable times at all kinds of shows. HOWEVER this show was different by being in the casino instead of the Exchange, by being a mostly different band doing entirely different music, and because I was on a vacation high instead of feeling like I’d swallowed a ball of knives and wanted to die. That Lee Harvey Osmond show was the highlight of a no-good very bad day.

But I digress. We met up, found our table, I poked Paul a few times, and Thompson Wilson took the stage. Well, first there was a local DJ who introduced the show and told us we’d be joined soon by “Thomas” Wilson, and then Stephen Fearing of B&RK talked for a bit and got the young fellow’s name right. You’d hope he would. The set was just Thompson and a guitar for the most part, though he was joined by his godfather, Junkhouse drummer Ray Farrugia, for a few songs. I wouldn’t call it country, but the influence is there. I think Thompson played all original songs – it was a very short set (25 minutes or so) and I didn’t recognize any covers, anyway. He seemed a little more confident than last time despite the much larger room, and this was quite enjoyable. Everyone seemed especially fond of the line “she asked me to kiss her somewhere dirty, so I took her to my home in Hamilton.”

A quick break and B&RK was up for two hours of country/roots rock. I don’t know how many more times I can say “this was real good” without any great detail and still expect to have any readers left, but here we are. Talented musicians! Good songs! Songs I didn’t know before and don’t know now but really liked at the time! A pair of loud drunks wanted to make the show about themselves and Tom Wilson made fun of them in a way that everyone else caught but they didn’t!

This was B&RK’s Kings & Kings tour. A few years back, they recorded an album called Kings & Queens where they were joined on each song by different female vocalists like Lucinda Williams, Emmylou Harris, Holly Cole, and Serena Ryder. Kings & Kings, of course, is the same idea, just with dudes: Bruce Cockburn, Eric Church, City & Colour, Keb’ Mo’, Vince Gill, and others. Looking at the album online just now, I note Murray McLauchlin is not listed, which makes his cameo appearance at this show a bit odd. Apparently, in Calgary the night before, B&RK were joined by McLauchlin, Ian Tyson, and Lindi Ortega, none of whom appear on the Kings or Queens albums if the iTunes tracklists are to be believed. Anyway, McLauchlin joined the band for three or four songs; Try Walkin’ Away was one I recognized, though it seems Murray McLauchlin is one of those people I know OF, not necessarily ABOUT. After the first tune, Tom Wilson was joking about how the song fell apart at the end, saying that B&RK “promises the best in semi-professional entertainment.” Sometimes it’s good to be musically ignorant; I didn’t notice anything was up.

For the encore, they invited everyone up to the front of the stage; until then, it had been one of those shows where everyone sits and applauds politely. Getting a bunch of people up to the front added to the atmosphere and thinking about it now, could have been done much earlier in the evening. But I can’t really call that a complaint if it took me four days to think of it.

UPCOMING CONCERTS
• The Tea Party (March 18)
• Bill & Joel Plaskett w/Mayhemingways (March 23)
• Lisa LeBlanc (March 30)
• I Love The 90s feat. Salt N Pepa, Vanilla Ice, Color Me Badd, Young MC, and Rob Base (April 1)
• The Last Waltz Remembered feat. Corb Lund, Matt Andersen, Amy Helm, & the Russell Broom House Band (April 5)
• BA Johnston w/Napalmpom (April 28)
• kd lang (August 26)
• Guns N’ Roses (August 27)
• Martha Wainwright (October 22)

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.