Posts Tagged ‘hayden’

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.

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SLCR #210: Dan Mangan + Blacksmith (March 7, 2015)

April 8, 2015

One of my great regrets in life is missing Dan Mangan’s last show in Regina. It was about a year and a half ago at Knox Metropolitan United Church. We had tickets, but it was the first really gross wintry day of the fall, and at the end of a long week, skipping out was much easier than leaving the house. I know some people who went to the show, and they all raved about it. Which is fine, that doesn’t really mean anything, doesn’t mean I’d have had a good time. But one of those jerks (hi Mark) took some video. And showed me the video. And it really did look phenomenal. And then I was sad. Ever since then, “remember Dan Mangan” has been a mantra whenever I feel like being lazy or reclusive or whatever.

Needless to say, when Dan Mangan (and Blacksmith, his newly-named backing band) announced a return date, I was all over it. That it was at Darke Hall, my favourite Regina concert venue, was even better. I ordered our tickets online and got them bundled with a download of his new album, Club Meds. And I listened to it a million times as soon as it came out – in no way did I give it one half-assed listen on the day before the show while not really paying much attention to it. That certainly wasn’t a thing I did at all.

Our show tickets weren’t actual tickets – we were just to show up at Darke Hall and my name would be on a list. Allegedly. I was not really feeling this. I have learned to accept that these days, 95% of the time, I will have printed-out PDFs instead of proper tickets as God intended, but trusting in some phantom list is something else entirely. Everything worked out, I was on the list, we got in, Dan Mangan’s website people are on the ball, but I feel confident in my ability to exchange physical tokens for access to restricted areas and don’t really understand why we need any other system.

The artistic director of the Regina Folk Festival opened the show to welcome us all there and read off the list of the night’s sponsors, as usually happens at one of these shows. She also noted that this was the first time they’d been allowed in Darke Hall since they last had Hawksley Workman there, which was (looks through old reviews) five years ago last month?! That seems impossible and yet it clearly is not. Maybe we all stomped too hard and caused structural damage? Anyway, she mentioned that the University of Regina is fundraising with the goal of renovating its downtown campus, including Darke Hall. I would love for this place to remain available for concerts, and while I don’t have $5 million to spare, maybe you do? http://www.uregina.ca/building-knowledge/

There were actually three artists on the bill. I’d seen Dan Mangan and Hayden before, both at the Regina Folk Festival (and I saw Hayden at Louis’ nearly 20 years ago), but as for the night’s opener, Astral Swans, I’d only heard the name. Astral Swans is one human from Calgary, which meant that I’d been lied to three times by the time he took the stage. Lucky for him, I’m a forgiving sort, mostly because he was real good. He played a very short set, just him and a guitar for around 20 minutes. I couldn’t tell you what songs he played, apart from a cover of Blue Eyes Cryin’ in the Rain, which I guess is something you could expect from someone whose debut album is titled “All my Favourite Singers are Willie Nelson.”

We then had the shortest set change I’ve ever seen. There is no way five minutes elapsed between the end of Astral Swans and Hayden taking the stage. As one who stayed sitting, I was pleased, but I felt bad for anyone who thought they had ample time to pee. I bet a lot of folks got caught unaware midstream.

In 1998, I saw Hayden at Louis’, declared him to be “not my thing,” and left early. A few years ago, he was at the Folk Festival and I came around on him. But this time, I really got it. This was a fantastic set of often dismal and depressing songs. Even the funniest moment had a dark undercurrent; he introduced the song No Happy Birthday by saying that his daughter makes the sign for “that’s enough” as soon as he starts playing songs that he’s written for her. To be fair, I didn’t get into him right away either.

In fact, I’ve had 17 years to get into Hayden and I’ve apparently squandered that time, so I don’t know what other songs he played, apart from knowing that Birthday and several others were from his newest record, Hey Love. I’d ask Mika for the titles of others – she rattled off a list when we left the show – but she’s asleep right now and it’s now been over a month anyway. (Since the concert, I mean; not since she’s been asleep.) She has told me that Hayden has gotten progressively better and better throughout his career, so maybe picking now as a starting point isn’t the worst thing I’ve ever done.

Dan Mangan was great! High expectations: met. I don’t even really know how to describe it except that it was a great show from start to finish. He played a lot of songs from Club Meds, had a pretty swank light show, played something that he described as “a lot of songs all in a row,” and made a comment about the Knox Met show I missed (“We’ll probably never be allowed back there”) that made the ol’ regret flare up again.

At one point, Mangan invited the crowd to stand up and dance; precisely one guy did so. He danced up from his seat, down the aisle, to the front of the stage, all the way back up the aisle, past his seat, out the door, and all the way home. Or, you know, he just walked back to his seat and I didn’t notice because he wasn’t The Only Guy Dancing at that point. I prefer my version.

I would have liked more songs from my favourite Mangan album, Nice, Nice, Very Nice, but for the first song of the encore, he came out without Blacksmith and played Basket by himself and Basket is my favourite song of his. Up above, I referenced dismal and depressing songs, and this one is fantastically awful in the best way. That would have been enough to send me home happy in a miserable way (or miserable in a happy way) but he brought Blacksmith, Hayden and his band, and Astral Swans all back for a show-closing sing-along that was probably a better way to end the night.

So yes, this was a fantastic night of music; the kind of show that reminds you that it’s worth it to brave going out on gross wintry days. Except it had been very slushy during this particular day and it froze while we were at the show and the walk back to the car was life threatening and finally I had to leave Mika standing in one spot holding onto a tree while I slid down the street to retrieve the car so I could pick her up and really, we should all just force Dan Mangan to tour in the summer from now on.

SLCR #191: Regina Folk Festival (August 9-11, 2013)

September 4, 2013

I should start by saying that if you’re at all interested in what happened at the Regina Folk Festival this year, you should definitely check out soundsalvationarmy.com. I know nothing about the person or persons behind it, but he/she/they did a fine job of reporting on the festival using such cutting-edge journalism techniques as “knowing things” and “looking up things you don’t know” and “writing things down while they’re fresh in your memories” and “caring about things other than food and stupidities.” I don’t know if this style of writing will catch on, but it makes for an interesting change of pace.

After last year’s festival, I wasn’t really excited about this year, even passing on the cheap pre-Christmas tickets. Then they announced the line-up and I was in. I knew that would happen. That pretty much always happens. You’d think I’d learn. I suspect I won’t.

We showed up on Friday night, hauling our nifty new lawn chairs and fleece blankets that Mika picked up for us. These are some solid chairs and they’re pretty cumbersome to tote around. This bothered me right up until the point that we got to our usual spot and I actually sat in one of the chairs. These are better than most chairs I have ever owned and made for some fiiiiiiiine sittin’.

The Friday night host was a kids’ entertainer (and – coincidentally? – Feist’s high school classmate) named Bubba B The MC. Now, a few years ago, Fred Penner was one of the hosts and everybody loved him. Ever since then, there seems to have been a preponderance of kids’ entertainers as main stage hosts. It makes sense, I suppose. You bring them in to work the daytime kids’ stages, so they’re there anyway. The thing is, Fred Penner is a beloved icon for people of a certain age (namely, people a few years younger than me). Bubba B The MC is not. “You’re either gonna love me or you’re gonna hate me,” he said as he took the stage. Between repeatedly shilling his CD and hollering “PHOTO OP, PHOTO OP, PHOTO OP” the second that every act finished up, I don’t think I heard a single person with anything positive to say about his hosting performance. I’ve possibly been spoiled by having Carolyn Mark as the main stage host on the first night of the first festival I ever went to.

The happiest and saddest moment of the festival occurred right as it began. You may remember that a few years ago, we sat near a guy who yelled HO! HO! HO! HO! instead of applauding and this guy was awesome. Well. When Bubba B said something to welcome us to the festival, a guy sitting near us yelled HO! and Mika and I turned to each other in pure delight. He was back!! And… then he never said HO! again all weekend. So sad. But at least we got one.

I won’t go into detail about all 15 main stage performances from the weekend because there’s only so many times I can type “I knew nothing about this artist, but they were good! I couldn’t tell you what they played, though.” Maybe I will just copy and paste.

I knew nothing about Elisapie, but she was good! I couldn’t tell you what she played, though. She was born in northern Québec and sang lovely songs in multiple languages, including English, French, and… okay, I’m going to guess Inuktitut but the internet is not confirming this and so I might be very wrong. Regardless, this was a fine opener and I’d go see her again. One lady who was sitting ahead of us on the Saturday night felt more strongly about the subject, judging by the amount of Elisapie records she bought.

I saw Hayden once before, in 1998. I was tired, declared him to be “not my thing,” and left early. But I’m nothing if not about second chances, and hey, it turns out this guy is really good after all. Maybe 21-year-old me just sucked? (yes) Mika said Hayden’s set was one of the best all weekend and was delighted that he played all the hits (it might be notable that she put “hits” in quotation marks). She specifically mentioned Bad As They Seem, The Hazards Of Sitting Beneath Palm Trees, Tree’s Lounge, and Home By Saturday. Now she is lost in Wikipedia, reading about Hayden. I’ll miss her.

Somewhere in here, I got some vegetable pad thai and fresh rolls. Anyone looking to buy my love (or at least my lunch), take note: fresh rolls might be my secret weakness. No shrimp, please.

For me, the idea of finally seeing Man Man was what sold me on this year’s festival. The short version is that they were in Regina a while ago opening for Modest Mouse. I went to the show and was even there in time to see Man Man, but wound up hanging out in the lobby with Colin and some of his friends instead. This was deemed to be the wise course of action because opening acts are often not very good. Of course, what happened was everyone left saying that Modest Mouse was okay but Man Man was crazy and great and the best. I had to live with my regret for six years and I am so delighted to get that one off the must-see checklist.

After all this time, they didn’t seem as crazy as I expected them to be, though it’s worth noting that we were sitting pretty far back and someone who was close up might have seen all kinds of things that I did not. There was a point where it appeared that a giant puppet was dancing with the band and I had no idea if the band brought it with them or if someone in the crowd was all “hey, you know what we should bring? Giant puppet.”

I expected Man Man to be good, and they were. I did not expect them to be immediately bested by the very next band. Nomadic Massive is a hip-hop group from Montréal. I went into the evening being so familiar with their work that I complained about the lack of hip-hop at this year’s festival. Oops. Maybe I should quit exposing my ignorance and talk about things I know about instead.

Mika bought me kettle corn and it was good!

Nomadic Massive. Yes. I knew nothing about this artist, but they were good! I couldn’t tell you what they played, though. The crowd was already pretty pumped from Man Man, and Nomadic Massive played an energetic set that won everyone over. Great musicianship, too, which is not something you can say about every rap artist. Fine stuff. Another bilingual act that I’d gladly see again. Fine work on this evening, Québec.

After four great sets, I was thinking this was on pace to be the best single night of the folk festival that I’ve seen. And I’d seen Feist before and was confident that she would deliver a fine capper. Unfortunately, I just didn’t think this measured up to what came before it. The momentum of the evening came to a dead stop as the crew took a half-hour to set up the most complicated stage I’ve seen at the Regina Folk Festival. It still didn’t compare to an arena rock show, but there were big screens, a riser, and more complex lighting effects. It all looked good, mind you, but seemed unnecessary. It especially left a bad taste in my mouth when Feist mentioned having to cut her set short. This is an outdoor event and there are noise curfews; maybe spending a half-hour on the stage setup isn’t the best use of your limited time.

I also found big sections of Feist’s set to be pretty dull. I shouldn’t have been surprised by this, as I didn’t much care for her newest album for the same reason (I believe the Sound Salvation Army folks described it as “challenging” and it is fair to say that I never gave it much of a chance to grow on me). The set wasn’t BAD by any stretch – Sea Lion Woman and My Moon My Man in particular were fantastic, and I wished we could have had more of that.

Saturday! Our main stage host was another children’s’ entertainer, Al Simmons. Al hosted last year and I wasn’t a fan. But was he worse than Bubba B The MC? Luckily (?), having back-to-back performances allowed for some degree of folk festival science and our jury of peer reviewers (me and Mika, pretty much) agree that Al Simmons is, in fact, better than Bubba B The MC. Sure, he talked way too much about the importance of cleaning up after yourself, but a) so did Fred Penner and I didn’t give HIM grief over it, b) on Sunday, we were told that the festival grounds were left cleaner than they’d ever been, and c) it beats PHOTO OP, PHOTO OP by a mile. So one point for you, Al Simmons.

I knew nothing about H’Sao, but they were good! I couldn’t tell you what they played, though. I know that while they currently live in Montréal (I’m sensing a theme), they’re originally from Chad. I know this because I felt the immediate need to text Chad (the person) and tell him about this band from Chad (the country). He declared them to be obviously great and who am I to argue?

I think I got some poutine around this point because I hate myself.

Despite having lived in Regina for what feels like forever, this was actually my first time seeing Rah Rah. Sort of. They played the Folk Festival a few years ago as one of the “teaser” acts between main stage performers, and the whole band wasn’t there and it was only okay. But this, this was pretty great. The hometown stars played a fun set with a lot of songs from their newest album, but stretched all the way back to Tentacles, which the first song of theirs that I ever heard (I think it was a freebie on iTunes one week, maybe?). One complaint: finally seeing them left “The Poet’s Dead” stuck in my head for about three days – but not the whole song, just two lines. Over and over. I forget what Mika finally played to dislodge it from my brain, but whatever it was couldn’t have been an upgrade.

Is it a surprise that Calypso Rose sang calypso music? I knew nothing about Calypso Rose, but she was good! And I can tell you one song that she played, Senior Citizens’ Day.  I have no idea why I would remember this song in particular but hey, that’s what happens when I don’t take notes. This was very energetic and fun, which was a(nother) recurring theme for the festival this year. I don’t know if it’s particularly folky, but I approve; last year’s festival felt like it was lacking energy and you couldn’t say the same for this year’s edition. Was it the selection of artists? Better audio quality?  Just happened that way? Was I just in a better headspace to begin with? Probably some combination thereof.

The Saturday night headliner, as far as I was concerned, was Bahamas. Short version: I had always avoided seeing him (not intentionally; it just worked out that way) until Junos weekend where I discovered that he was great. And he was great here too.

“Are you ready to rock?” (yay!) “Well… we’re not that kind of band.”

You wouldn’t expect songs so sweet and sincere from someone so funny (or vice-versa), but the combination makes Bahamas a great performer. He played a full set of his originals (can I remember what? of course not), sarcastically endorsed the SaskTel network (they really should hire Bahamas as a spokesperson in place of the Little Red commercials), and closed with fun covers of Hey Ya and Wonderful Tonight.

Loreena McKennit was up next, but we didn’t stick around for her. Not our thing.

Sunday! The hosts for the evening were local troupe FadaDance. They’re not exclusively kids’ entertainers, but they do seem to be around to work the children’s stage every year. They kicked off the night’s festivities with this prolonged marching band entrance that grabbed attention, and then they largely stayed out of the way. I approve.

Don, my coworker, had told me that Carolina Chocolate Drops were great, and he was right. For my money, this was the top act of the whole festival. The short version is that they explore the history of African-Americans in bluegrass music, but that only scratches the surface. One song was sung in Haitian Creole, while another was Gaelic, and they traded instruments as they went. Incredible talent on display here. If you get the chance, go see them.

Niyaz was really the only main stage act I saw that just didn’t click with me. They sang very pretty Persian-influenced songs and the twirling dancer was hypnotic, but a lot of this all sounded the same to me and I kind of lost interest. Maybe it’s just me; Other James and Mark were there all weekend, and I think this might have been Other James’ favourite act of the weekend. I think he was in love with the dancer.

I can’t say that I didn’t know anything about Rosanne Cash. Next-to-nothing, maybe. I really had no idea just how impressive her career has been.

She has a new album coming out soon, but her most recent album was a collection of covers. Her dad had made her a list of 100 country songs that she needed to know (do you need me to tell you that her dad was Johnny Cash? because I will, but I feel kind of stupid doing so) and she covered 12 of those songs on an album (appropriately titled The List). As such, we got about 50% originals and 50% country classics, and both were great. There was no band; just Cash on guitar with another guitarist for accompaniment.  Clean, clear performances of some wonderful songs.

A good chunk of the crowd left after Cash was done, which meant they missed out on Charles Bradley. Bradley’s story is becoming well-known, thanks to a documentary about his life called “Charles Bradley: Soul of America.” The gist of it is that he had a really hard life, worked as a James Brown impersonator for a time, and finally released his first solo record in 2011, when he was already in his 60s. The preceding sentence may include lies or half-truths, seeing as how I haven’t actually watched said documentary (it’s not on Canadian Netflix yet), but that’s what I was going on.

The band came out and played an instrumental number, then one of them introduced Bradley in dramatic fashion (is there any other way when you’re “the Screaming Eagle of Soul?”). Bradley sang, he danced, he did the splits. He left the stage and was re-introduced wearing a different outfit. I believe he wore a cape at one point. He sang his own original songs, but the James Brown influence was strong, to say the least. Almost a bit much at times, really.

Before Neko Case took the stage to close down the evening, the festival’s Artistic Director, Sandra Butel, addressed the crowd. She polled the crowd as to who the best acts were, and… okay, you know how if someone on stage asks the crowd a question, they just get unintelligible yelling in response? When she asked about the best act Saturday night, it seemed like everyone there yelled “Bahamas!” in unison. It was as clear as can be. I had to laugh; I have never heard such consensus from the masses before.

For the record, when she asked about Friday night, most people yelled for Nomadic Massive, but there was a small but VERY vocal contingent of Man Man supporters.

Neko Case’s new album came out yesterday. This sentence will only be true if I finally get off (on?) my ass and finish this review and post it today, but whatever. If I don’t, let’s just assume I can bend time to my will. Maybe I will sit on this review for five years and keep Case’s record in limbo for that long. Take THAT, Neko Case and Neko Case fans. That’s for probably wronging me somehow.

Point being, I pre-ordered said album (“The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You”) (Deluxe Edition) on iTunes, and as such, it downloaded to my PC today, but I haven’t listened to it yet. And yet… I have. Kind of. Case’s show-closing set was comprised mainly of songs from the new record. The two songs I’d heard online, Man and Night Still Comes, were great live, as was the rest of the new tunes. We also got a few songs that she co-wrote with the Sadies (they got a nice cheer every time their name was mentioned), a few singles (including Hold On, Hold On and People Got a Lotta Nerve), and one song that she wrote for her dad, but “got turned into a vampire fuck theme for TV.”

“Oh, the world and the things it does,” she said.

THIS I made note of to share with you later. Did I write down what song it actually was? No, but I was 99% sure that it was “I Wish I Was the Moon Tonight.” I am now 100% sure after Googling “neko case true blood.” Time to clear my search history. Again.

Point being, if my imaginary band ever releases an imaginary album, “Vampire Fuck Themes for TV” is likely to be the imaginary album title.

I will say that between all the new songs and all the time Case spent tuning her guitar, this felt almost like a tune-up for the “real” tour that will surely be coming. This kept her set from being among my favourites of the weekend, but it was still a mighty fine time.

With that, we packed up our lawn chairs and headed home. As we were leaving, the show-closing finale was taking place. This included Rah Rah returning to cover the Traveling Wilburys’ Handle With Care, because why not? From what we saw, the finale was not quite as raucous as in previous years, but we didn’t stick around to the bitter end. We’re old, you know. And comfy chairs were proving to be no substitute for a comfy bed.

As we walked to the car, another group of festival goers were gathered around a statue, posing for a picture. One of them hollered “PHOTO OP, PHOTO OP, PHOTO OP!” We laughed, as did everyone else nearby. Bubba B The MC may have achieved immortality.