Posts Tagged ‘music’

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.

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SLCR #300: David Myles (October 24, 2017)

November 2, 2017

Three hundred! My goodness. It feels like I just did a milestone post last year. And I’ve run out of gimmicks, I’m not going to promise a book that we all know I’ll never deliver, and I can’t even threaten to quit doing these things because I’ve been doing that for at least 15 years already. So let’s just talk about this guy I’m completely unfamiliar with.

The only thing I knew about David Myles is that a few years back, he had a hit with the song Inner Ninja, a collaboration with the Canadian rapper Classified (Myles did the non-rapping parts). I saw them perform the song at the Junos Songwriters’ Circle, where host Tom Cochrane referred to the pair as “Eminem meets Buddy Holly.” This was fun, but they only got to do a few songs, Classified was presented as the star of the pair, and Myles didn’t get to perform any of his own stuff.

So once again, I was basically going in blind. However, I did hear that Myles put on a great live show. Of course, I heard that from the advertising FOR said show. Clearly an unbiased source. But whatever, I guess I believed it, I bought a ticket and all.

Telling this story (such as it is) now, I really can’t identify why, exactly, I decided to go to this. He’s a guy I barely heard of and I only knew one song – which he wouldn’t even be able to perform unless he brought a surprise rapper in his carry-on. Plus Mika couldn’t go so I was flying solo. I’m not sure what part of this made me think this was a good idea. Though I suppose that’s never stopped me before. Apart from all the times where it stopped me.

I got to the Artesian and wandered in at the same time as Mark’s friend Rob, who I met at the New Pornographers show and didn’t tell you about. We work together, though I don’t believe our paths have ever crossed in an official capacity. At any rate, he was there with his wife, and seeing that I was unaccompanied, he invited me to sit with them. What delightful folks! I was pleased to take them up on their offer, though I did keep a seat between us since the place wasn’t sold out and I was pretty sure the offer didn’t include cuddling. Maybe next time.

The openers were Port Cities. This was a folk trio consisting of three singer-songwriters who’ve joined forces – Dylan Guthro, Breagh MacKinnon, and Carleton Stone. That last name sounded super familiar to me – some quick Googling confirmed that Hawksley Workman had produced one of Stone’s solo albums and he’d talked a fair bit about it when it came out. I feel like I listened to that album back then? Not sure. Though of the three, MacKinnon sounded the most familiar, with a voice exactly like… someone I couldn’t place. Still can’t.

This was the first night of their tour with Myles and their first time in Regina as a group. They played most of their first album, with Back to the Bottom and On the Nights You Stay Home as a few standouts. The highlight of their short set was the last song, where they all left the stage and performed the last song off-mic, on the floor. That was a great way to close things and make a big impression. I’d see these folks again. And maybe I will? They draw once a year for a free house concert from the names signed up for their email list. I don’t know that my house is well suited to that but maybe I could knock out some walls or something.

David Myles is a different sort of guy. He’s a folk singer from New Brunswick who has both a Latin Grammy and a Juno for Rap Recording of the Year. In 2017, he released a new album inspired by 50s and 60s rock and country. He once did a 24-stop tour of Saskatchewan without playing Saskatoon or Regina. And his live show is a blast.

Drawing from the new album, the show had the sound of late 50s/early 60s rock, with a diversion into doo-wop (with backing vocals from his very game band) and even a bluegrass take on another of his collaborations with Classified. He also brought out MacKinnon to do a song they’d written together – performed live for the first time ever. In between songs, he told stories and self-deprecating jokes, heaped praise on Port Cities and his band, and came across like the most likable guy ever. It was a high-energy show with a lot of humour, and I quickly went from “I’m not sure why I’m here” to “I’m very glad I’m here” to “next time, I need to get more people here.” Great songs, very entertaining, and even a high-tech light show (white Christmas lights wrapped around TWO mics). Highly recommended.

UPCOMING CONCERTS:
• Headstones w/SNAKEandtheCHAIN (November 17)
• Andy Shauf (November 18)
• Corb Lund (November 23)
• Cold Specks w/LA timpa (November 24)
• Tanya Tagaq & the Regina Symphony Orchestra (November 25)
• Hawksley Workman (December 9)
• Tom Wilson w/Mariel Buckley and Belle Plaine (January 19)
• Mo Kenney w/Lindi Ortega and Megan Nash (January 20)
• The Dears (March 17)
• “Weird Al” Yankovic w/Emo Philips (June 1)

SLCR #299: Martha Wainwright (October 22, 2017)

October 24, 2017

I heard Martha Wainwright was coming to town and thought “ooh, that sounds good, we should get tickets.” And I don’t know WHY, really. What do I know about Martha Wainwright, beyond her name and who some of her relatives are? I’ve heard a half-dozen Rufus Wainwright songs, enough to make me think that I could really get into the guy if I made the effort. This is not much and yet this is substantially more than what I know about Martha Wainwright, which amounts to the fact that I saw her do a few songs on his Christmas special, and I don’t remember what songs they were. Or was he doing songs on her Christmas special? Or was it a Wainwright/McGarrigle family Christmas special? I know it had to be at least seven years ago. I think.

Last week I told you I’d never seen Kris Demeanor before, but it turns out I had, 12 years ago. So glad I write these things down.

Anyway. I bought these tickets last December for a show that was supposed to happen in April. Then it got postponed for reasons. I don’t know, I’m not her biographer. She didn’t feel like coming to Regina, maybe. Does anyone? Regina in the springtime?

The Artesian sold out in the days before the show. I was glad, because it’s a delightful little place and I want it to do well. It did, however, mean we needed to get there early to sort out seating. Mika and I wound up in the front row of the pews at the back, which left us in an ideal spot to greet Mark, Arlette, and Other James as they arrived. It also meant a lot of people shuffling in front of us and no height advantage over the floor seats, so arriving a little earlier might have been ideal. So it goes.

I can’t say we felt old at this show. At least two-thirds of the audience looked to be of retirement age. I’m not sure who I expected to see at this concert, but that wasn’t it. But as we’ve established, I was going into this about as ignorant as humanly possible, so the fact that I had expectations at all is a little ridiculous.

I’ve been all bronchitis’d up since returning from Calgary, which is not ideal for concerts. Or for existing. I don’t recommend it. To keep my coughing in check, I stuffed my pockets with a flavour sampler of cough candies and washed them down with a tasty pear cider from the bar. This worked reasonably well so I recommend that you combine all your medicine with alcohol for maximum effect. Science shows it works.

The openers were Mappe Of, making their first ever stop in Regina (while on their first-ever cross-Canada tour). They were described as “folk;” that’s not how I’d classify them, but I’m not sure where they fit. Very atmospheric music, lots of falsetto in the vocals, plenty of neat tricks (like playing the electric bass with a bow) to create unique sounds. There were moments of big energy but for the most part, it was something to listen to, not to dance to. It was well suited to the small room, too. Mika said it would be good Sunday morning music. This was all really good and quite interesting; not something I’d want to listen to all the time, but ideal in the right setting. Recommended if you’re looking for something a little different. Mark and Arlette were way into this, and they’re trustworthy humans.

During the break, I was avoiding social media because I had again skipped out on watching wrestling and I didn’t want it spoiled for me. So instead of looking up cute animals on Instagram, I checked Pokémon GO and found that the last of the new Halloween Pokémon that I needed was nearby. Mika said she figured I had ten minutes before Wainwright would start; I caught it and was back with time to spare. I’m always surprised when things work out well, even though half of my concert reviews are just me being surprised when things aren’t completely ruined. The quick walk in the cool night air was refreshing too.

Martha Wainwright came out and did a song by herself, just on guitar, before bringing out her band. They joined her for most of the show, but she did a handful of songs with just the pianist. I don’t really know which songs, for the most part – remember, I’m dumb – though she mentioned some were from her newest album, Goodnight City, including Around the Bend and two songs about her son Francis.

And I will say what I always say; namely, that this was an enjoyable night out. It wasn’t an overly long set – probably about 80 minutes with the encore – but enough to get a good introduction to Wainwright’s music without overstaying her welcome. Much like with Sarah Slean last week, the intimate venue and great sound really helped the evening. Also like Slean, Wainwright is very emotive with some vocal flourishes; things that could either make you a bigger fan or push you away. You pick.

She also had more of a sense of humour than I was expecting, telling lots of stories and also sharing that as a recent divorcée, she was finding it very therapeutic to be touring around with her band “talking about cum.” You were not expecting that sentence to end that way and neither were we. This got the best delayed reaction I’ve ever heard – few immediate laughs, but then they kept popping up all over. I like to think that a number of the more elderly fans in attendance didn’t quite hear it and needed it explained to them. Hopefully by their kids. Also, her poor bass player was doubled over laughing and also maybe looked a little mortified.

wait

omg

wait

Is the band’s NAME Talking About Cum? Because that wasn’t how I interpreted it initially but maybe? It fits with how she phrased it, depending on where you put the comma. I don’t have proof of this, though. The band wasn’t credited on the tickets and posters but I suppose there are community standards that need to be upheld. Unlike, say, here.

I think we best wrap things up.

SLCR #298: Sarah Slean (October 14, 2017)

October 19, 2017

Home again, and I wasted no time getting back at it. Back in the saddle. On the horse. The concert horse. My flight got in around 4:00 on Saturday afternoon and by 8:00, I was sitting in the Artesian awaiting Sarah Slean. I had my concert ticket before I booked the trip, so I scheduled my return flight accordingly and everything – somewhat surprisingly – worked out. Even if my seatmate did steal my aisle seat, leaving me squooshed up against the window.

By comparison, I had no seatmate at this show, which is always better than cuddling with strangers. The place wasn’t quite sold out, and though I arrived too late to get a seat in the… well, I guess they’re like a combination of bleachers and pews – anyway, they were full, but I got a seat at the back of the floor. The venue is small enough that there aren’t really any bad seats there.

Sarah and her band (guitar, bass, drums) started right at 8:00 with no opener. They played two sets that were about 45 minutes each, plus the requisite encore. A lot of the songs came from Slean’s new album, Metaphysics; it looks like she played most of the record. There were also some older songs like Pilgrim and California that (of course) got the best reactions. I did like all the new tunes, though. Slean was on the piano (or the piano-sounding keyboard if you’re a stickler for details) for every song except one – her version of Wayfaring Stranger that opened the second set.

For the encore, Slean first returned by herself and asked for requests. This turned into a remarkably well-organized three-way shouting match between the guy ahead of me who yelled for Book Smart, Street Stupid, someone behind me yelling for Willow, and someone up at the front yelling for Sweet Ones. I knew we weren’t getting Sweet Ones unless the band came back out, so it came down to two. “Book Smart, that’s interesting,” said Slean. “Yes,” said the guy, very emphatically. Not like he was excited that she might play it; he was just strongly in agreement. She opted to play it and hoped she wouldn’t forget the words. She only got lost once and the guy helped her out. Then the band came back out and they played Sweet Ones to close the show. That was the big crowd pleaser and I guess it’s her biggest song? I dunno, it’s real good, but I like Lucky Me more and she didn’t play that one. Shoulda yelled.

This was all delightful. For a while now, Slean has been someone that I seem to see every time she’s in town, and then I never listen to her music until the next time I go see her. This was a pleasant reminder that she has some good songs and I should spend more time listening to them. Her band was really good too. And the set lengths were just right for me; I got enough to make it worth the money and it never dragged, plus I wasn’t in the mood to stay out forever.

I will say that I know some people who really dislike Slean and this show wouldn’t have changed their minds. She has some affectations when she talks and sings and that’s part of what puts them off. Last time I saw her, I was sitting near two groups of people; one praised her for being “emotive” and the other derided her as “a ham” and though I told that story last time, I can think of no better way to sum up the issue. I can’t say it bugs me, though I see what they’re getting at and it did make me wonder how much of it is a persona and how much is just her.

The venue really upped my enjoyment of the evening. I believe the polite term for “this place is tiny” is “an intimate setting.” I might just call it cozy. It’s a nice looking space where you’re never too far from the stage or overrun by idiots. And the sound was fantastic, with the clearest vocals I’ve heard at a show in a long time. The instruments all sounded great too. My next two concerts are also at the Artesian and this pleases me.

While this all was going on, elsewhere in Regina, friends of mine were at the Brandt Centre watching wrestling. I skipped out to watch a tiny lady play piano. I’m not sure this is something that 16-year-old me would be able to fathom. But whatever; they had fun and I had fun.

UPCOMING CONCERTS:

  • Martha Wainwright w/Mappe Of (October 22)
  • David Myles w/Port Cities (October 24)
  • Headstones w/SNAKEandtheCHAIN (November 17)
  • Andy Shauf (November 18)
  • Corb Lund (November 23)
  • Cold Specks w/LA timpa (November 24)
  • Tanya Tagaq & the Regina Symphony Orchestra (November 25)
  • Hawksley Workman (December 9)
  • “Weird Al” Yankovic w/Emo Philips (June 1)

SLCR #297: Japandroids (October 13, 2017)

October 18, 2017

You may recall that I set myself a goal of seeing 40 concerts in the year that I turned 40 (last year). You may also recall that near the end of the year, I got concerted out and didn’t quite make it.

I feel like I’m getting to that point again. Or maybe that’s not quite right. I’ve seen a ton of great stuff lately by artists I know well and really enjoy, but looking at my upcoming shows, there’s an awful lot of “I’ve heard of this person and this is a thing to do that I’m sure will be pleasant but I don’t really know much about them” coming up. Which is fine, but I may have scheduled in a bit too much of a good thing for myself.

Like these here Japandroids. I’d heard one song – The House that Heaven Built. It’s super great. I’d meant to listen to more of their stuff since I really dig that one song. Never really got around to it. Got a ticket anyway since it was really convenient of them to play the night after Arcade Fire so I could cram a bunch of music into my earholes in one Calgary trip.

But then the day came, and I’ve been walking a ton all week and my feet are now in a state of full rebellion (I complained about my plantar fasciitis last time and I might just keep doing it because it seems like a super interesting topic for everyone) and I knew I’d be walking to and from the train and I’d be standing all night at the show, and, again, I only knew that one song. Point being, this seemed like a much better idea several weeks ago when I got the ticket.

But I persevered. For you. And because I already paid for the ticket. And because Japandroids seem like a band I could really dig if I gave them half a shot. But mostly because I’d already paid.

I am now an old pro at the C-Train and have nothing to say about the trip there, except I juuuuuust missed the train on the way there and had to wait six whole minutes for another one. And also a train ride is an easy way to refill your Pokémon GO items.

The show was at the university in the MacEwan Ballroom, the smaller of the two venues there. It wasn’t sold out but was pretty close, I’m guessing. Tons of people there. And every other person had bought Japandroids vinyl from the looks of it.

Because I’d been less than motivated to get to the show, I dawdled and eventually missed the start of the opener, Cloud Nothings. They were way louder than I was expecting – which is dumb, because why would I expect anything, I knew nothing about them. Four guys playing straightforward, high-energy rock. I thought all of the songs sounded a bit alike, but I liked them all, so no complaints. If you like Japandroids, you’d like these guys, and vice versa. And for at least the next while, if you see one, you’ll likely see both, since it sounded like this was the first show of a seven-week tour they’d be doing together.

“I thought all of the songs sounded a bit alike, but I liked them all, so no complaints” could also be my Japandroids review. I’ll add in I liked them well enough that I still want to spend some time with their music and get to know it a bit better. Maybe go for coffee with it, and a walk by the lake. Something casual. I don’t know what the hell I’m talking about anymore.

I didn’t recognize any songs apart from The House that Heaven Built, though they mentioned that one song was called No Known Drink or Drug, which I’d at least heard of. It was good. Someone held up a sign asking for a song of their first album. I don’t know what it was called but I liked it a bunch and the crowd seemed real into it. They closed with the song I knew. It was real good. There was no encore, which seemed to disappoint people, especially those chanting “one more song,” but I was okay with it.

Does this mean I get to go to bed?

NO. I must pad this out at least a bit. Uhh… shit. Okay. Well. I walked into the hall partway through Cloud Nothings’ set and stood at the back of the crowd. Within seconds of showing up, some girl walked out of the crowd and tore her shirt off right in front of me as she went past. I’d like to say I have that effect on women all the time but the “what the heck is happening here?” expression that was surely on my face might lead one to believe otherwise.

(I think she was just overheated. I was too, but didn’t feel that following suit would have been the best course of action for anyone. When in Rome, I’m most likely keeping my toga on.)

SLCR #296: Arcade Fire (October 12, 2017)

October 17, 2017

I had a number of shows to attend during this Calgary trip, but this was the anchor, the one that made me book the trip when I did.

I’d never seen Arcade Fire before. I only ever had one chance – they played the Odeon in Saskatoon back in… 2005, I think. Give or take a year. I didn’t pick up tickets immediately because I was supposed to spend the weekend in Canmore with family and I wasn’t sure I’d be back in time. I got back to Saskatoon from my trip around suppertime on the day of the concert, so we could have gone, but it didn’t matter; tickets had sold out pretty much instantly. The next day, I went to a record store and chatted with the owner, who said “I hate to tell you this, but they released last-minute tickets and they were available at the door.” So it goes.

I could also take this time to complain that on that tour, they intentionally left a day between Saskatoon and Winnipeg to do a show in Regina, and nobody would book them. Which neatly sums up one of my prime complaints about Regina and why I time these trips to coincide with concerts.

Delightfully, Colin was game to take in this concert with me. Less delightfully, because this trip got scheduled so late, there weren’t a ton of great seats left. I got us a pair of the cheapest seats in the building, which I believe were still more expensive than the Odeon tickets from a decade ago. At least we were in the doors.

I made plans to meet Colin at 5:30 at Wurst, the German restaurant across the street from my grandma’s place. At 5:32, I was walking there when I saw Colin wave at me from his car, where he was stuck in traffic. I offered to race him there. I mention this because I won.

I hadn’t had German food in decades. The restaurant has been there for years and I’d never been, because eating outside the home would offend my grandma to no end. She’ll tolerate it if I’m meeting someone, but only barely. I still haven’t gone to the Indian restaurant next door and it’s been there for as long as my grandma’s lived here. Anyway, I got a schnitzel BLT (which is a normal BLT with a schnitzel also on it and you probably guessed that but did you know it was on grilled sourdough, smart guy?) and a side Caesar salad. Very tasty. Colin had a brat on a bun with soup and he said it was good, so thumbs up all around.

I’d assumed we’d walk to the Saddledome, but Colin wanted to try driving since he’d heard about a free parking trick. I was fine with this since I’ve done a ton of walking this week and my plantar fasciitis is making itself quite known. I won’t spill the beans about Colin’s plan, but I will confirm that it not only worked, but we got out of there afterwards with minimal hassle.

We showed up just as the openers, Phantogram, were starting. We got to our seats (past many signs warning us of strobe lights and “theatrical smoke effects”) and really, they weren’t that bad. Meaning our seats. And also Phantogram, I suppose. We weren’t very close, but we could see the stage and hear everything well enough. The band was playing in the round, so we were even closer than I was expecting. There were also big screens, but they didn’t help because the band was basically exactly the same size on stage as they were on the screens, plus the screens had video effects on them so they were actually worse than just watching the stage. Whatever – I thought this was more funny than anything.

I told Mika that I didn’t think I knew any Phantogram songs, and she said “yes you do, idiot.” Possibly not in those exact words. Okay, I thought I knew one song – You Don’t Get Me High Anymore. Listening to them in concert, I’m still pretty sure I only knew the one. I mean, there were a number of songs that sounded kinda familiar, where I was waiting for a recognizable chorus that never came. Maybe I’ve just heard enough Garbage and Evanescence and other electronic-influenced rock bands with female vocalists that I hear similarities where none exist? Colin actually knew a few of their songs and so he was basically a superfan by comparison.

My general take on Phantogram was that they were pretty good in a way where I know I’m not likely to ever go out of my way to seek more out. I mean, I enjoyed them, but I know me. I don’t make enough time for everything that I really enjoy as it is. But like I said, this was good, the sound was decent, they played the song I knew, their light show was impressive. No complaints.

As soon as they were done, a cowboy with a galaxy for a face appeared on the big screen and asked us for another round of applause for Phantogram. This completely baffled me. The cowboy would return several times throughout the break to shill t-shirts and spout bizarre non-sequiturs (“Let’s hear it for junior hockey!” or my favourite, “I can’t legally ask if you’re ready to rumble, but I hope YOU AAAAAAAAAAAAAAARE!”). I think the cowboy may have been Colin’s favourite part of the evening. There were also weird symbols on the screens around the arena, and the screen would show ads for shirts at 100% off with an infinite time warranty – all part of the experience of this, the Infinite Content Tour.

Because the band was in the round, they had to enter down a long aisle like at a wrestling or MMA show. And in fact, they mocked up the stage to look like a boxing ring and came in to a boxing-style introduction. Apparently, Arcade Fire weighs, collectively, 2,100 pounds. If Dave ever reads this, he’ll call bullshit because how can they only weigh 2,100 pounds when they have 62 band members?

I counted 9, for the record. No sign of Karnov.

I have a weird relationship with Arcade Fire; namely, I think they’re all very talented and I love their songs, but they can also come across as artsy and pretentious and if someone punched them, I’d understand. I don’t condone it nor do I want to do it myself, but I’d understand.

All of this went out the window before the first song was done. I mean, I’m not surprised that these guys were really good, but… these guys were really good. Super talented, very versatile musicians who played (and traded) a wide range of instruments all through the night.

The band has a great stage presence too. This was a spectacle; from a visual standpoint alone, it was never not entertaining. Just to keep things interesting, they also have possibly the best big rock light show I’ve ever seen, along with a constant stream of new and creative video effects on the big screen (while still devoting lots of time to letting you actually see the musicians).

They did take the boxing ring staging down after a few songs, which was a relief, since one of the band kept bouncing off the ropes like in wrestling but those ropes were way too loose to do that safely. Dude’s gonna fall one of these days.

As for the songs, there was a big focus on their new record, of course, but there was a nice selection from all their albums. Tons of hits, but lots of variety in general. The fourth song was Here Comes the Night Time and it is not what comes to mind if you’re thinking of a song that would blow the roof off a place, but they did it. Keep the Car Running might be my favourite Arcade Fire song, which I only realized when I saw how delighted I was when they started playing it. There was a killer version of Reflektor, they closed the main set with Neighbourhood #3 (Power Out) and the encore with Wake Up… much like I felt after the New Pornographers concert, this show really hammered home to me just how much great music these guys have put out. And some really anthemic songs, which I’m totally a sucker for.

Here’s the whole setlist for anyone who cares about such things:
Everything Now
Signs of Life
Rebellion (Lies)
Here Comes the Night Time
No Cars Go
Electric Blue
Put Your Money on Me
Neon Bible
Infinite_Content (setlist.fm says this was the first time they’ve ever played this song in concert)
Good God Damn
Keep the Car Running
Crown of Love (first live performance of this song since 2014, according to setlist.fm)
The Suburbs
The Suburbs (Continued)
Ready to Start
Sprawl II (Mountains Beyond Mountains)
Reflektor
Afterlife
Creature Comfort
Neighbourhood #3 (Power Out)

encore:
We Don’t Deserve Love
Everything Now (Continued)
Wake Up

They left the stage and walked to the back, still playing instruments while the crowd sang the singalong part from Wake Up. So yeah. This was great and Colin thought it was great and I’m pretty sure everyone there thought it was great. It made me more sad about missing that concert at the Odeon and I hate the Odeon. This was a dang fine show in what’s turning out to be a year full of them.

SLCR #295: Wordfest (October 10, 2017)

October 16, 2017

When you think about concerts, one word comes to mind: books.

I had a few shows already scheduled for Calgary when this thing popped up on Facebook and it sounded pretty neat. As part of a week-long festival of words by the name of Wordfest, there was a concert-slash-reading featuring musicians-slash-authors Geoff Berner, Rae Spoon, Kris Demeanor, and Caroline Connolly. There are readings and other events with all kinds of authors all week long; this particular session was called “How to Be… Wordy & Wild” and it was at the Big Secret Theatre downtown, where I first saw Hawksley Workman’s play The God That Comes a few years back.

I didn’t catch this initially, but that “How to Be” up there was selected because these are (mostly) the authors of the How to Be series of booklets. I am slow. But sometimes I get there eventually.

Or sometimes I get there early. The Big Secret Theatre is only two LRT stops away; for some reason, I still felt I needed to leave my grandma’s place over an hour beforehand to make sure I wasn’t late. This put me downtown with too much time to kill. I found a Tim Hortons and ordered a hot chocolate and played iPhone games until I could wander over at a more appropriate hour. The hot chocolate was both chocolatey and exceptionally hot; I wasn’t convinced it was going to cool off in time for me to make it to the show, but I powered through because I am an intrepid reporter and I am committed to my tasks. Unless I’m sleepy or it’s cold out or I just change my mind about going.

Let’s meet our authors. Klezmer punk accordionist Geoff Berner shows up regularly in these here reviews. He wrote the first volume in the series, How to Be an Accordion Player. Note that this booklet will not teach you how to play the accordion. It’s called How to Be an Accordion Player. This is an important distinction. Berner opened the event by explaining how the book series came to be; namely, they were commissioned by a shadowy, possibly Lithuanian, possible billionaire who may or may not have been in attendance.

Singer/songwriter Kris Demeanor is someone whose name I’ve heard forever but had never had the chance to see him perform before. He was Calgary’s inaugural poet laureate and he works with inner-city youth, so his booklet is titled How to Be an Asshole of Calgary.

The last time I saw Rae Spoon, it was probably 15 years ago and they were performing in the basement of a Cajun restaurant in Saskatoon. Since then, they’ve released a number of albums and gone on to widespread critical acclaim. I remember very little about that last show and I don’t have my old reviews immediately accessible (for which I’m thankful, as I probably sounded like a real dope), but I was really looking forward to the chance to see Spoon again. I also really miss that restaurant. Spoon’s booklet, the newest release of the four, is How to (Hide) Be(hind) Your Songs.

Caroline Connolly is an Alberta musician from a band called The Lovebullies. She also makes and sells gluten-free perogies, which is the noblest of callings. To the best of my knowledge, she’s never written a book. I feel like if she had, this would have come up. Carolyn Mark did, and it’s called How to Be a Boozy Chanteuse, which is how she was described in the New York Times. Mark was unable to attend, away “at an undisclosed location, doing very important things, like her hair,” so Connolly filled in for her. Mark did send her guitar, but upon inspection, it was just a guitar case filled with wine bottles and underwear. I’ve seen Carolyn Mark a few times and I’m 100% prepared to believe that this was legitimate and not a comedy bit.

The format was pretty simple; “like a folk festival workshop where no work gets done,” said Berner. They all took turns reading, then they read some more but also sang some songs, and then more reading and songs. The order was Berner > Connolly > Demeanor > Spoon > repeat, but folks would play and sing on each other’s songs.

You can probably infer how the readings went by the titles of the books. I mean, each booklet is about how to be something, so that’s what they talked about. And you may have also gathered that these are not super-serious instruction manuals for your life. Except maybe they should be? Spoon’s seemed the closest to being sincere, but all four authors got great laughs from the crowd – and, at times, from each other. Berner in particular has great comedic timing when telling stories.

He also nearly shot beer out his nose when Demeanor read the following lines about Calgary: “At the time of writing, our city is going through hard times. Aleppo hard.” Demeanor’s book seems like it might have the most laugh-out-loud potential of the four.

As for the songs, Connolly kicked it off with Mark’s tune 2 Days Smug and Sober, with Demeanor on guitar (and I believe Berner on accordion for this one). I really like this song and hadn’t heard it in forever. She did a fine job even if she needed a lyric sheet for reference.

I will break here to mention that if you have Apple Music, you can search for my SLCR 2017 playlist which features most everyone I’ve seen in concert this year. I had to make the hard choices about whether or not to include 2 Days on it, since Mark didn’t actually play here, but I ruled in favour of adding it to the list since I like it. It’s good to be the guy who makes rules.

Demeanor was up next with his song Liquidation World, which he played in lieu of reading the chapter of his booklet entitled How to Shop Like an Asshole. With witty lyrics and great guitar playing, I immediately decided I like this guy.

I couldn’t add Spoon’s first song to my playlist since it isn’t being released until next year. This made me sad because it’s called Do Whatever the Fuck You Want and I think this song presents some solid life advice. It also has a bridge where they spell out exactly what the song is about, so as to avoid any sort of misinterpretation. It was observed that Born in the USA should have had a bridge for that exact purpose. Spoon also noted that the more folk festival-friendly version of the song, Do Whatever the Heck You Want, is a big hit with children. I can totally see that.

Berner’s first tune was Hustle Advisory, off his brand new record Canadiana Grotesquica. It also has plenty of f-bombs in it and I’ve caught myself humming it all day. I’m not sure grandma approves.

The next round of songs was Swang Swang (or possibly Swing Swing said with a flourish?) by Connolly, which was one of her own, not Mark’s. Demeanor had the best title of the night with his next song, The Drunk You Is You. Spoon played their song Cowboy, and Berner covered Mark’s song Edmonton, one of my favourites of hers. The mention of Edmonton actually raised a gasp from one person in the audience, which Berner called attention to (“Yes. A sharp intake of breath.”) before encouraging us all to be open to learning about other cultures.

These were all interspersed with more readings, where we learned about asshole role models, how a boozy chanteuse should dress (if police aren’t suspicious, you’re not trying hard enough), Stalin, and how you can talk about Jesus when you secretly mean Carla. There was also some audience participation as we debated the pronunciation of halcyon and deigning (which I knew) and fecund (which I’m still not certain of).

After a round of very exuberant plugs for books and upcoming concerts, Spoon closed out the show with another excellently named song, My Heart is a Piece of Garbage. Fight Seagulls! Fight! This was picked to end the show since it references the Calgary Tower, only blocks away.

They were selling stuff and signing stuff after the show, so I went on a shopping spree. I already had Berner’s booklet from long ago, so I got the other three. They were $10 each or four for $30, so I picked up a second copy of How to be an Asshole of Calgary, since Colin just moved here last year and he could probably still use some advice. Demeanor kindly signed both copies and Spoon signed theirs as well.

While I didn’t need Berner’s booklet, I did pick up his new novel, The Fiddler is a Good Woman, days before its official release. His previous novel, Festival Man, was a great read so I’m really looking forward to this one. I got it signed too because I’m a dork like that.

This whole show was a goddamn delight and I smiled the whole time. What great, talented folks. Go see them all and go buy their books.

SLCR #294: The New Pornographers (October 6, 2017)

October 15, 2017

Hi! It’s the most concertingest time of the year, with five shows in 8 days, and I’m in Calgary. I mean, I won’t be by the time you read this. But right now I am. But I wasn’t there for this show.

I’m visiting my grandma again, and I scheduled the trip to coincide with some concerts again, so I have a lot of reviews to write again, and I’m doing them on the iPad again, and I don’t like finalizing them on the iPad again, so expect to get a bunch of these once I’m back. Or, as it will be called in the future, “this week.”

Hopefully if I say that now, I’ll push myself to actually finish them all up in reasonable time. The odds of this happening seem slim.

#1 pet peeve of writing these on the iPad is not, as you might expect, the autocorrect. No, it is that my handy iPad keyboard – which is actually pretty decent – has a lock button where the backspace key would be on a full-sized keyboard. So I shut this thing down a lot. And swear. I initially wrote “And sweat” which was a typo but was not incorrect. Also, I’ve been eating chips and it’s hard to use the fingerprint scanner when your hands are covered in shameful grease.

Another issue with the iPad is that my collection of old reviews is in a Word document on a thumb drive. Maybe while I’m here, I will get on grandma’s computer and see if I can email myself a copy that the iPad can open. Until then, I’m going off memory, or as I like to call it, “lying.” Time for this known fantasist to impart some unlikely tales!

I believe I have seen the New Pornographers twice before. This makes three, and I was surprised and delighted to find that Heather was going to be at the show with us, since I’ve never seen the New Pornographers without her. I didn’t know she was in town until that morning and I would have suggested that she come to this except it was sold out. Luckily she already had a ticket, or knew someone, or something, I don’t know. Is this really relevant to your life?

In another irrelevant story, the last time I saw them, The Mountain Goats were the opening act. I vaguely knew the name, didn’t know anything about them, enjoyed them well enough, and promptly forgot about it. And I literally mean I forgot about it – I appreciate them more now (writing an entire album about old-timey wrestling and actually making it really good helps) and was shocked to re-read an old review and discover I’d seen them. Ask Mika and she will confirm that I full-on yelled “what the fuck, we saw The Mountain Goats?!”

Anyway. Mika and I got to the Exchange around 7:45 and wandered inside – before most people got there but too late to have to wait in line outside. In short, we won.

They gave us wristbands so we could buy alcohol like adults and I promptly got Mika an iced tea and myself a Wild Cherry Pepsi. I then spent about 15 minutes fighting with the stupid wristband because it was on tight and I decided I’d rather have wrist freedom than booze freedom.

Getting drinks was fun. First, the bartender’s vodka bottle slipped, and in grabbing for it, he pulled the nozzle off and sent the bottle to the floor. Then someone ordered a Caesar and he added all of the component parts before realizing they were out of Clamato. He offered the customer the glass of vodka, ice, and Tabasco – I think free! – but no takers.

Mark and Arlette showed up shortly before the openers started and staked out a nice leanin’ spot along the wall by the front of the stage. Mika and I, and eventually Heather, stayed back, centre stage, behind the people who were willing to shove their way to the front.

The openers were Born Ruffians. Before we went, Mika played me a few of their songs. I’m not certain, but I think they were called “You Probably Know This One. No?” and “I Think This One Was in a Car Commercial. Still No?”

Okay, so I am not exactly “informed.” But I know a few things – there were three of them and they play the kind of fun, slightly poppy rock that is right in my wheelhouse. I really liked them and made a vow to listen to more of them. And I’m pretty sure they played the song that may or may not have ever been in a car commercial, or maybe it was the other one, or probably both.

Between sets, Mika and Heather took off outside which was very sensible because everyone in the building was roasting. I went to chat with Mark and Arlette, who were visiting with Mark’s daughter Hayley. I mention her by name because Mark said I should. He’s been taking on more of a contributing editor role to these things of late. Too bad he won’t see this for a while – I’ve got four more reviews to write in about a week and I could use the guidance.

Anyway we had a nice chat – it’s nice when Mark can fit both concerts AND cutting up animals into his schedule. He seemed real interested in talking me into going to an upcoming psychobilly concert; I don’t know if this is because he wants to go or he just wants to see if he can talk me into doing so.

Historically, here’s how New Pornographers albums go for me:

  1. I listen to it
  2. I am nonplussed
  3. I listen to it some more
  4. Still nothing
  5. One song becomes a hit, or Mika plays it a bunch, or whatever – I hear it lots is the point
  6. It turns out that song is great
  7. It turns out all their songs are great

So I was surprised when I listened to the new record, Whiteout Conditions, and liked it from the get-go. That’s not supposed to happen!

I mention the album title because I need to fix my brain. Their last album was Brill Bruisers. It came out in 2014 if Apple Music is telling me the truth. Up until days before the show, I was convinced that Brill Bruisers had just come out and that the new songs I’d heard were just more singles from that album. It’s as if several years went by and I completely missed it. I’m hoping that by repeating the actual timeline I can sort myself out.

I can’t keep track of everyone in (and/or touring with) New Pornographers, but I don’t think that’s age-related feeblemindedness, they’ve just got a complicated family tree. AC Newman was there. And Kathryn Calder. Beyond that, I need to Google and I’m not about to do that.

Anyway, this was great. A nice mix of new stuff and old classics, good sound, crowd was into it despite collectively succumbing to heatstroke. The older stuff got the best reactions, as it will – Use It and Sing Me Spanish Techno were particularly crowd-pleasing, though The Jessica Numbers was the one that stuck in my head for a good long time afterwards. High Ticket Attractions, off the new record, seems like it might be one that becomes a quick favourite too. Mass Romantic, Brill Bruisers, The Laws Have Changed, The Bleeding Heart Show – I guess this means nothing to you if you don’t know the songs, but I do, and when I write them all out one after the other, I think “these guys have just a ton of great songs.”

Because writing out a list of songs and silently admiring them in awe is totally something I do all the time. That paragraph was just the worst.

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 #292: Guns N’ Roses (August 27, 2017)

September 6, 2017

Many years ago, I was in line to get into the Odeon in Saskatoon to see Hawksley Workman. This drunk dude stumbled down the street and asked us what the line was for. Someone told him it was Guns N’ Roses, who were broken up or fighting with each other or something at the time.

“YEAH,” said our new drunken friend, “GUNS IS FUCKIN’ ROSES.”

They sure is.

And I really thought that was as close as I’d ever come to seeing Guns N’ Roses, but here we are. Remember how Mika initially really wanted to go to Bryan Adams despite having never shown any previous interest in Bryan Adams? That was kind of the situation here again. Guns N’ Roses was announced for our new stadium well before Adams was, and Mika seemed real keen on going. Me? I dunno. I knew all the big hits but I also didn’t care so much. But I’ll go to pretty much anything for any reason, and Mika wanting to go is reason enough.

Plus, who figured this would ever happen? They were giant stars but also the textbook example of rock n’ roll scandal and excess. Books have been written about their troubled history and it would take someone far more knowledgeable than me to put together the timeline of breakups, reunions, and personnel changes. The idea that they’d hit a point where something vaguely resembling the classic lineup was able to survive an entire tour together was inconceivable. But here we are.

I mentioned that I am not really a Guns N’ Roses fan. Really, I shouldn’t approach this like a normal review. It should be more of a fish-out-of-water piece, like when Vice sends a writer to a Trump rally or the Gathering of the Juggalos. That said, my only initial observation about G’n’R fans is that they obey no rule about not wearing the band’s shirt to their own concert.

We got to the mall at about 5:30 to catch the stadium shuttle. They’ve finally got the get-to-the-stadium part relatively down. We were on a bus and in motion within 15 minutes. A line of similar length took an hour and 15 minutes for Bryan Adams, causing us to miss the first few songs from Our Lady Peace. This time, we got inside, walked up the ramp, and came out on our level just in time for the first few songs by Our Lady Peace.

Since tickets went on sale so long ago, I had to buy them before ever having visited our new stadium. Also, I didn’t want to spend a ton of money. Folks, I have to tell you, mistakes were made. I knew we were close to the stage and up high, but we were much closer and much higher than I remembered. We were in the back row of the section, looking down on the stage from the side. The view was less than ideal. The sound, worse. And we were all the way on the opposite side of the stadium from the buses, ensuring that it would be a long wait to get home. James, this was not your finest work. In fact, I’d go so far as “catastrophic failure.”

So, Our Lady Peace. I had hopes that since they’d just played here three months ago, we’d get a different set of tunes. Nope! It was almost the exact same setlist. The good news is we showed up in time to hear Naveed and Superman’s Dead this time. The bad news is that the sound was worse – but again, that was a function of where we were sitting. I don’t blame them for the sound. I do blame them for not mixing things up at all. Whatever. Much like last time, this was fine if not thrilling.

OLP finished at 7:00 and Guns N’ Roses was scheduled to start at 7:30. Mika had been told that G’n’R was starting an hour late in each city along this tour. If anything, this seemed awfully optimistic judging by Axl Rose’s long and storied past. I gave it some time for the first wave of people to disperse and at about 6:50, I left in search of food. Ridiculous lineups at every vendor, of course. For convenience’s sake, I went to the one nearest our seats and got poutine since it appeared to be the only thing they sold with a lid – and I’d need that assistance when carrying the snacks back to my seat, since I also got us each a bottle of water and I wasn’t allowed to keep the caps on them. It was an awkward walk back.

Anyway, my foreshadowing is never subtle and you’ve already figured out that Guns N’ Roses started at 7:30 on the nose and I missed the first song or two. I’d tell you what they were, but I have no idea. I went into the show wondering just how many G’n’R songs I actually knew. Talking to Mika, I figured there were actually quite a few – but the sound was so muddy where we were that there were a lot of songs that sounded familiar but I couldn’t quite place. She even said something similar and she’s much better at Name That Tune than I am. All of the really big singles were apparent, of course – Welcome to the Jungle, November Rain, Knockin’ on Heaven’s Door, You Could Be Mine, stuff like that. There was an unexpected cover of Black Hole Sun, which I assume was a tribute to the late Chris Cornell. That was nice. And they played Live and Let Die with extra pyro. I’ve said this before but pyrotechnics are my least favourite of all the -technics, and while our seats may have sucked if we wanted to see or hear the band, they were GREAT if you wanted to be close to fireworks and other explosions. Which I assure you I did not.

I’m just gonna say this – I was not the intended audience for this show and I did not dig it at all. Everyone else I heard from loved it. Listen to them and not to me. I’m the problem here. Put me in better seats, and I’d likely have had a good time. I mean, there are all kinds of bands that I don’t really care about that I’d go see just for the spectacle of it all, and this was quite a spectacle. And the songs I knew (and could make out) were enjoyable despite everything. Maybe we should have left our seats and watched the show standing on the concourse level. Lots of people sitting near us did that. Or maybe I should have just held off on buying tickets – the show didn’t come close to selling out, and on the day of the show, one friend got decent seats for much cheaper than ours, and another saw $250-per-person floor seats going for around what we paid. There are multiple lessons here.

Having dealt with several bus debacles leaving the stadium, we skipped out on the encore in favour of a quicker departure (so no Paradise City for us). This turned out to be a surprisingly amusing decision since we wound up near some of the drunkest humans I’ve seen in quite some time. One man in particular told a loud story about how he met a lady at the show and she gave him her number and they kissed and it was his “first kiss in a looooooooong time.” He then detailed his plans to continue drinking (“water’s for pussies”) and how he lost his hotel key but was going to talk the hotel clerk into letting him into the room even though it was under someone else’s name. Then he expressed a great interest in getting some cocaine and declared that a woman he was sitting with was “the coke queen of Yorkton.” He then backtracked, with a really loud and exaggerated “I’M JUST KIDDING ABOUT THAT. ONLY KIDDING.” And then we got to the mall and he peed on the side of it. I avoided eye contact with Mika for the entire bus ride home because I’d have lost it otherwise. Good sir, you and your cocaine and pee salvaged my evening.

UPCOMING CONCERTS:
• The Sadies (September 14)
• BA Johnston (September 15)
• Steve Earle & The Dukes (September 27)
• The New Pornographers w/Born Ruffians (October 6)
• Whitehorse w/Terra Lightfoot (October 13)
• Sarah Slean (October 14)
• Martha Wainwright (October 22)
• David Myles w/Port Cities (October 24)
• Headstones w/SNAKEandtheCHAIN (November 17)
• Cold Specks (November 24)
• Tanya Tagaq & the Regina Symphony Orchestra (November 25)