Posts Tagged ‘rae spoon’

SLCR Social Distancing Special #2

September 23, 2020

Hello. I got that haircut I was wanting. And then another haircut. And then another haircut. It’s been a while, is my point.

The Regina Folk Festival, the SaskTel Saskatchewan Jazz Festival, the Gateway Festival, and most other enjoyable things didn’t happen this year. There were lots of streaming concerts, but it’s not the same. Still, in a bid for normalcy, I had good intentions of writing up reviews for them anyway – or at least one per artist, which is one of those mandatory-chicken type rules that I can ignore as I see fit. And I wrote some. Made notes for others. Definitely wrote down some dates in a text file with good intentions. Felt kinda bad about not finishing these for, oh, five months or so. Not bad enough, apparently.

I liked the idea of sending out mini-reviews with the idea that if something sounded interesting to you, you could watch it yourself. With the move to paid concerts you can only watch live, that’s not as easy. Maybe that’s why I lost my motivation months ago, or maybe it’s just that I can’t fathom you caring about what I’ve been watching on my computer. Nonetheless, here we are. Or here we were months ago.


Danny Michel (May 3, 2020)
buy tickets: https://www.dannymichel.com/shows2
buy music: https://dannymichel.bandcamp.com/

For the first few weeks of the shutdown, Danny Michel seemed pretty adamant that we didn’t need to use this time to put on concerts or write great novels – just getting by was enough. And he’s still not into writing new stuff at the moment, but he did a one-off Zoom show and found it so invigorating to see his fans that he made it a weekly thing. So if you have $7 US, you can join in every Sunday. Well, you’d need several $7s to join in every Sunday. Also, this took me so long to send out, he’s done with his weekly shows. So there’s that too. Luckily for you, there’s one more show coming on October 11, so get on it.

Michel performs live from his studio, surrounded by a variety of instruments and, on occasion, by a variety of wacky Zoom backgrounds. For the most part, Danny’s on guitar, but this time he broke out a banjo for the song Rye Whiskey & Wine (by special request of Olympic cyclist Curt Harnett, who also joined Danny for an impromptu chat). Another new addition this week was an applause track that he would play via sampler pedal to mark the end of songs, or jokes, or just to amuse himself.

Danny Michel is one of those musicians who always seems to play 15 songs from a possible pool of 20, despite having written hundreds. But as with Steven Page, Michel is taking this opportunity to take fan requests and dig into the back catalogue. Mika was surprised when she tried to guess the set list and couldn’t do it. I wish I had recorded her list of guesses because the series of “the one about” was pretty entertaining. Not as good as when she tried to tell me what happens in Star Wars without having seen Star Wars, but still. The new songs were welcome and I’d like to hear more of the old favourites in weeks to come. And if Danny’s cat Larry David wants to make another mid-song appearance, so much the better.

Here’s that setlist:

  • Sweet Things
  • A Cold Road
  • The Right Thing
  • Feather, Fur, & Fin
  • Rye Whiskey & Wine
  • Born in the Wild
  • Luckiest Man in the World
  • Click Click
  • Nobody Rules You
  • What a Wonderful World

For what one could call an encore, Danny opened up ProTools and went track by track through the song What Colour Are You. It was pretty neat to see how it was all put together and you could hear all sorts of little touches I’d never noticed before. Then he took some questions and chatted with the audience before wrapping up. He suggested that one of these weeks, he might stay online talking for hours just to see who the last person in the audience is. It’s not like I’ve got any place to go.


Hawksley Workman (May 21, 2020)
buy tickets: https://hawksleyworkman.com/live/
buy music: https://hawksleyworkman.bandcamp.com/

Having recently moved from Montréal, Hawksley and his wife were staying at her father’s house in Peterborough as they searched the city for a place of their own. When the pandemic hit, house-hunting was put on hold. Months later, Don’s basement was the setting for the first Hawksley Night in Canada show.

Despite not being in their own place, this turned out to be one of the slicker setups I’ve seen in these shows. I don’t know if Hawksley brought his own light-up applause sign or if his father-in-law just had one laying about, but either way, it came in handy for the ambience. There were a handful of simple lighting effects (literally, turning lamps on and off) that helped make the show feel like more than just a webcam feed. And there were hand-made stop-motion title cards for the Hawk Talk and Pet Songs segments, as well as the show itself.

Both of those segments were pretty self-explanatory. In the days leading up to the show, Hawksley had shared an email address where people could send stories and pictures of their pets so he could write songs about them. And no, I didn’t send in anything about Carl. Yet. Maybe next time. For this show, Hawksley wrote and recorded a song about a rescue dog named Thurman and made a music video with the pictures and video clips. Here it is: https://www.youtube.com/watch?v=jWZJCXo1vJI

When the show began, I joked that I hoped nobody phoned the landline in the background while the show was on. And then my phone immediately rang because I cursed myself. As it turned out, Hawksley’s phone (well, Don’s phone) wound up in play later on for Hawk Talk, the audience participation segment. He gave the phone number out and had chats with fans from Vancouver, Kingston, Regina (again, this was not me), and Guelph. Hawksley also kicked off the segment by phoning Mr. Lonely. For added fun, one of Hawksley’s cats (The Donger) (not its actual name) wandered into the set for a visit. I don’t know if anyone has tried calling that number in the days since to see if they can just have a nice chat with Hawksley and family, but one of you should try it.

I suppose there were also songs! Here’s the setlist:

  • No Sissies
  • Piano Blink
  • Your Beauty Must Be Rubbing Off
  • Warhol’s Portrait of Gretzky
  • PET SONGS: Thurman
  • Safe and Sound
  • You and the Candles
  • Chemical
  • Ukelady Boy
  • Battlefords
  • HAWK TALK
  • We Will Still Need A Song
  • Birds in Train Stations
  • Don’t Be Crushed

Except for the pet song, it was all Hawksley on acoustic guitar. For some of these, it was how I’m used to hearing them; others sounded entirely different stripped down. Chemical, in particular, was a whole new song. There was also a nice mix of concert usuals and surprises, from personal favourite Piano Blink to the unnervingly prescient You and the Candles to Ukelady Boy from Hawksley’s musical, The God That Comes. And both the sound and video were among the best of these quarantine concerts, making this a home run all around. Since this one, he’s been doing them monthly and they’ve all been a delight. Highly and unsurprisingly recommended.


Dan Mangan (May 23, 2020)
buy tickets: https://sidedooraccess.com/home
buy music: https://danmangan.bandcamp.com/

This spring, Dan Mangan was to be going on tour to mark the 10th anniversary of his debut album, Nice, Nice, Very Nice. He was skipping Regina, which – as ever – was as disappointing as it was understandable. Then the world ended and here we are.

This show was live from Mangan’s basement, but still managed to feature a few special guests. First was Dan’s son, who wandered in looking for help with his Nintendo Switch. He got sent to find his mother. Didn’t even sing anything. Neither did Dan’s moms or sister, though their appearances were at least planned. Veda Hille, Dan’s neighbour, joined in on The Indie Queens are Waiting, just as she did on the album. Well… not “just,” probably. I bet she didn’t have to sit outside the house and sing through a window when the album was recorded. And partway through, Noble Son was brought on to play a pair of songs. Not quite an opening act. Halftime show, maybe?

I’d give you the setlist but you could just look up the tracklist for the album. Robots, always a fan favourite. Basket, one of my very favourite songs, always a heartbreaker. He did forget the song Some People, playing it after Pine for Cedars once he realized his mistake. Noble Son’s songs, Sleepin’ and Sad Dumb Lovesick Young Kid, came in after Fair Verona. After the show, Mangan took fan questions and eventually played a new song, In Your Corner, in memory of Scott Hutchinson of Frightened Rabbit who died in 2018.

I really enjoyed this set, and it was a nice make-up for skipping us on the tour that didn’t happen. And he’s since rescheduled his tour dates, and now he’s fitting us in. The show is scheduled for mid-January. We’ll see if it happens. We’ll see if I’m brave and/or foolish enough to go.


Son of Dave (June 5, 2020)
concert: https://www.facebook.com/ospreyartscentre/videos/2451242958508166/
buy music: https://sonofdave.bandcamp.com/

These concerts are either free on YouTube or Facebook or something, or they’re ticketed. If you pay, you get a link and a unique code. Easy enough. I paid for this show, got the email, and didn’t look at it until the day of, only to find that my link had expired. Uh-oh. Frantic emails ensued, only to find out that the show was just on the Osprey Arts Centre’s Facebook page and a human was manually checking to see if the folks watching the show were entitled to be doing so. Based on the attendance, let’s just say this was not as demanding a job as one might hope. Eventually, they asked us to share the link around in hopes that more people would show up and contribute to the virtual tip jar.

Son of Dave (nee Benjamin Darvill) is a harmonica-playing, beatboxing bluesman and showman. This was a fun show that made for a good introduction to his music, though to get the full experience, you need the interaction that comes with seeing him in person. Nothing’s stopping you from having a conga line through your house while watching this, but it’s not the same if he’s not insisting you do it. And he can’t invite you up on stage and feed you chocolate remotely.

In a weird twist, the show wasn’t actually live. It was recorded especially for the venue, but fear of a bad overseas internet connection (justifiable, based on some of these shows) led to it being sent in ahead of time. This led to the unique situation of Son of Dave joining fans in the live chat to watch himself in concert. He said it sounded better in his head. I can’t say he’s wrong, but I liked how it sounded to the rest of us.


Frank Turner & The Sleeping Souls (August 9, 2020)
concerts, but not this one: https://www.youtube.com/c/FrankTurner/videos
buy music: https://frank-turner.bandcamp.com

I’m guessing that this is not how Frank Turner expected to celebrate his 2,500th concert. In an alternate dimension, it’s a big extravaganza. In this one, it’s him and his regular band, separated by plexiglass dividers, tearing it up in an empty hall.

That said, they weren’t about to let a little thing like everything stop them from putting on one of the best live concerts you’ll see. Even without a live crowd to feed off of, there was no lack of energy. There were more pauses for conversation and banter between bandmates than at a usual show, but I just attributed that to their enjoyment of actually being in the same place as each other.

I’d give you a setlist but Turner has surpassed the Weakerthans as my #1 artist where I know very few song titles and have to describe them all with snippets of lyrics that I may have misheard. Every song title starts with “The One That Goes Like” as far as I’m concerned. The key things are we got the song that made me a fan (Try This at Home), my favourite of his (Get Better), and the thematically-appropriate Recovery. And a bunch more. This was a delight and I’d recommend his live shows to anyone.


July Talk (August 13, 2020)
website: https://www.julytalk.com/
buy music: https://julytalk.bandcamp.com/
donate: https://my.charitableimpact.com/charities/street-worker-s-advocacy-project-regina-inc

This show escaped the confines of basements and studios and empty bars, taking place with a full audience at a drive-in theatre. It looked like people were allowed to stand beside their cars, though most remained inside. It’s been weird to hear concerts with no applause after each song, but honking in appreciation is new too.

I had rushed to get dinner made in time for the show, but needn’t have bothered. The show opened with a collection of music videos, concert footage, and animation that served as a leadup to the concert proper. This was actually pretty entertaining, though unusual to hear versions of songs that they were just going to play live later anyway. Doesn’t really register on the unusual charts for this year, I guess.

I am an old man who doesn’t like new bands so it’s weird that I like this new band so much. Though at three albums in, new is relative. Compared to me, they’re new. So are most things. Anyway, July Talk puts on a killer show. This show was, I guess, their tour to promote their new album, Pray For It, so we heard lots from it, but got all the older favourites as well. You know. How concerts work. They did that.

Shot in black and white on eight cameras, we have a runaway winner in terms of quarantine concert production values. In the most memorable moment, singer Leah Fay walked out among the cars, had people turn their hazard lights on, climbed on top of one car (she asked first and is also wee), and sang a song. At the end, she laid down on the roof of the car. This was filmed from above by a drone rising into the sky, giving us a shot of a tiny figure in all white in the darkness, getting smaller and smaller, surrounded by rows of blinking lights. It was stunning. You could easily have passed this off as a fully-edited concert video.


Kathleen Edwards (August 14, 2020)
concert: https://www.youtube.com/watch?v=3KmHuzQxjFg
buy music: https://kathleenedwards.bandcamp.com/

Kathleen Edwards famously quit music to open up a coffee shop. Years later, she has a new album (Total Freedom) and the coffee shop doubles as her own personal performance venue because she can’t tour.

This was shown on Facebook, YouTube, and Twitch. Allegedly. I opted for YouTube, which erupted into chaos when the concert began and there was no sound. You have never seen a chat so panicked. Word was sent that Facebook had audio, so I went there, but Facebook streaming video is sometimes fine and sometimes super choppy and this was the latter. Off to Twitch I went, which meant figuring out where I’d hidden the Twitch app on my iPad, and then figuring out what my username and password were, and then figuring out where the stream was, and then 30 seconds later, it ended, seemingly accidentally. So I went back to YouTube which was now fine.

The show was Edwards and her full band playing the new album front to back, with a few extra songs at the end. Once the initial issues were sorted out, everything sounded great. It’s Kathleen Edwards, she’s not going to sound not great. It seemed like she was enjoying herself, and had great chemistry with the band.

The chatroom was completely enamoured with her and the show. I am skeptical about the number of claims of being brought to tears by the concert, but maybe some folks just get moved by music more than I do. Some folks also have very strong opinions about what Kathleen Edwards should do with her personal life. It’s best to always mute the chat. Though I agreed with their assertions that she should swear more because it’s fun.


Rae Spoon (September 17, 2020)
buy music: https://raespoon.bandcamp.com/

This was brought to us by the Regina Public Library. Finally, something of value! No more dumb books. What did books ever do for us?

The show was held over Zoom, with Rae having selected an image of the downtown library for their backdrop. It’s like they were really there! Outside. And years ago. It wasn’t the newest picture. Rae played guitar and sang, ad-libbing through audience participation spots where necessary, and telling stories to give context to everything. The show seemed to breeze by.

I’ve seen Spoon a few times now and despite the general weirdness of playing a show to no audible reaction from a remote location, this was still my favourite performance of theirs. Due to some serious health issues, they hadn’t been playing live for a while. Maybe they were happy to be back and feeling better, or more comfortable to be playing from home, or maybe I was just imagining things. Who knows. There was a spark that wasn’t there in their previous shows and it was delightful to see it.


And we’re caught up. Briefly. For something that’s been in the works since May, I wrote an embarrassing amount of this last night. I suspect I won’t review other streaming shows, but who knows. Normal could be a ways off and I might feel the need to alert you, once again, to the existence of YouTube. Just in case you forget about it.

SLCR #342: Regina Folk Festival (August 8-11, 2019)

September 16, 2019

This was the 50th Regina Folk Festival. Or 50th anniversary, maybe. We skipped most of it.

I get inordinately high hopes for the folk festival lineup every year. The festival is a rare opportunity to get bands who’d never normally play Regina to come to town, but I need to remember, it’s not a whole lineup of them. This year, they got Jason Isbell, which is pretty cool, but most of the lineup read like a SLCR reunion show – Colter Wall, The Dead South, A Tribe Called Red, Bahamas, Rae Spoon, Blue Rodeo – and I like all those folks! Which is why I’ve seen them all before. Ultimately, we settled on just getting Friday night passes, but when Charlotte Day Wilson backed out and was replaced by personal favourite (and another SLCR alum) Kathleen Edwards, we made plans to pop downtown on Sunday night too.

THURSDAY, AUGUST 8

If I was in charge here, this whole thing would be its own review – different venue, separate ticket – but this was put on by the Folk Festival and was covered in the Folk Festival program and it’s been over a month and sure, I’ll take the opportunity to condense these into one.

The important thing is that we paid money to listen to music through headphones in a grocery store.

Touring in support of their new album, Saskatoon’s Close Talker held a “3D-360 silent headphone concert,” which they named “Immersion.” The idea is that the band would play their entire new album How Do We Stay Here? from front to back, and everyone in the crowd would hear the music through headphones. This isn’t an entirely new idea, but they got some slick tech worked in that allows them to move the music around in real time, so the bass can move from left to right, or the drums can sound really far away, or the guitar can move towards you. I can’t explain the grocery store part, other than a local market named Local Market YQR has a small attached space that actually worked really well for this. It’s your proverbial “intimate venue,” which allowed the band to sell out two shows in one evening.

Being Olds, we opted for the early show. We were briefed about what was going on upon entering, and we took seats at the back of the room. One of Close Talker (or would you just say a Talker?) invited us to move up, which was nice, but we’re tall and the back works fine for us. Besides, every seat wound up filled.

They told us the show would start promptly at 8:00, but there was a lengthy introduction explaining how the show would work, the technology behind it, all that fun stuff. I thought it ran a bit long but it became apparent that this was intentional; one issue with the venue is there was nothing covering the windows, and some of us (most importantly, me) were getting the setting sun right in the eyes. The opening chatter was dragged out a bit until the sun was just low enough to not impact the show.

This was a really neat experience, an excellent introduction to a local band, and a fun way to kick off the folk festival weekend. The performance itself ran around 50 minutes of kinda folky, kinda artsy, kinda dreamy pop rock. The movement effects I mentioned above were there but never overused, complementing the music rather than overshadowing it. The band made a point of not talking much, especially early on, to help people focus on the music. To that end, the headphones worked really well; nobody talked, and people mostly kept their phones in their pockets. I wouldn’t want every show to be like this, but in the right cases, it could be really effective. I did think individual volume controls might be a nice addition, though I can see where that could add one more thing to possibly mess up in what had to be an already complicated technical setup.

At one point I slipped off my headphones for a second to see what it sounded like in the room. Mostly it was drums.

FRIDAY, AUGUST 9

This brings us to our one full night at the 2019 Regina Folk Festival. With gates opening at 5:00, I’d have had to come downtown early and wait in line with folding chairs to get a good spot where Mika could eventually join me. Instead, we took our time getting down there and skipped the chairs entirely. This was a controversial decision, given that we spent way too much money on those chairs and they’re very comfy and ridiculously strong. Seemed a shame to not get as much use out of them as we could.

We got to the park a little after 6:00. Once we made it through the usual organized chaos, the whole chair thing seemed like a bad move on our part. There were noticeably fewer people there than in previous years and we wouldn’t have had a problem taking our traditional spots. This was Garth Brooks’ fault. His two sold-out stadium shows on the Friday and Saturday nights surely siphoned off Festival attendees. I didn’t mind the extra space, as the park has felt a little crowded during recent Festivals, but I was concerned that too much of his noise would carry over to the park and drown out our noise. Luckily, that was never an issue.

Emilie Kahn had already started playing by the time we arrived and we saw a few of her songs in between checking out the Stuff Tent and the food trucks and whatnot. It was perfectly pleasant harp playing that we honestly didn’t pay a ton of attention to.

Between sets, Ila Barker played a few songs, just her and her guitar, and there was a spoken performance from the night’s emcee, Stella from Queer Songbook Orchestra (they used a number of names throughout the night, but Stella is the most fun to yell, so here we are).

We picked the Friday night to attend in part because Weaves was playing and Mika really wanted to see them. And so they took the stage, and then everything went to hell. After half a song – just enough time for me to admire the airbrushed picture of Dolly Parton on the singer’s pants – someone from the Folk Festival ran out on the stage holding arms aloft in the dreaded X. It had been cool and drizzling off and on thus far, but now lightning was in the area. Luckily, the guitarist for Weaves had trained for this situation and knew exactly what to do – play the opening riff of Thunderstruck before flipping the double bird to the heavens.

With everything on hold, we waited around the park for a while to see what would happen, before the rain picked up and we headed to the car.

And the car was where we’d spend the next 90 minutes, with rain pouring down and lightning all around us. We played games on our phones, lamented the lack of nearby bathrooms, regretted not having picked up dinner as soon as we’d arrived, and intermittently ran the air conditioner when it all got too suffocating. The Festival kept people up to date via Twitter, or at least as up to date as they could given that everything was really contingent on the lightning going away. At one point, Mika tried to tell me facts about thunder, but she started it with “somebody once told me” and I jumped in exuberantly with “the world is gonna roll me” and she got mad and now I still don’t know what she knows about thunder.

This was all great fun but it could have been worse – we could have tried to go see Garth Brooks. The lightning hit before his show began, and they quit letting people into the stadium (it’s open-air and there’s only so many places they can hide people), so the busses quit running. Thousands of people took shelter in the nearby arena, where (according to a video that was on my social media hundreds of times but which I never actually bothered to watch) they all cheered for a zamboni, I guess because they had nothing else to do. Couldn’t watch the Rider game on your phone – they were on a lightning delay too. And they were in Montréal.

Finally, the storm passed and the Festival announced that the show was going to resume. We ran into Rheanne on the way back, because we have to run into Rheanne at every Folk Festival, even if we’re only there for an hour. It always works out.

With a few minutes to spare before the show was to resume, we hit the food trucks, only to find that most of the vendors had packed up and left. Can’t blame them, really. I wound up getting a burger from the bannock truck, and it turns out that replacing the bun with fried dough is an excellent decision. Mika, however, was stuck getting the sole gluten-free option, popcorn with literal ladles of melted butter. And, for some reason, a lemon wedge. Until this day, “too much butter” only lived in the realm of the hypothetical, but no more. The lemon worked surprisingly well, though.

The Festival is scheduled like so: a main act plays for anywhere from 40-90 minutes (depending on where they are in the set), and then there’s a teaser who plays for about 10 minutes while the next main act gets set up. It repeats that way all night – main act, teaser, main act, teaser, main act. So when the Festival tweeted that the last three acts were still going to play, people didn’t know if that meant the last three main acts, or main/teaser/main. If it was the latter, that would mean The Dead South would lose their spot. On Twitter, on Facebook, people were SO upset at this idea.

And then Stella came out to introduce the next band. They got three words in – “The Dead South” – and I have never heard a reaction like this for anyone at the Folk Festival. Or nearly any concert ever. Folk Festival concerts always have these long, scripted, artist-bio introductions – I’ve heard more than one musician describe them as “awkward” – and Stella got through the whole thing, eventually – but really, the best move would have been to just skip it when the crowd was already so hot.

The Dead South are a bluegrass band from around these parts who’ve started to make it big elsewhere, and this was their triumphant return. They had their time cut, as did the next two bands, but they tore it up and in front of a most appreciative audience, they could do no wrong. This was a high energy performance and was a blast.

Bahamas was up next and he and his band played a delightful set, though of the three that came after the storm, it was probably the weakest. And I love Bahamas! Being shorted on time hurt, because they crammed in as many songs as possible with little talking, and I greatly enjoy his talking. I shouldn’t complain; they played Lost in the Light and that’s my favourite of his. And at least we got to hear about how they’re not the best band, and don’t get the longest sets, but they’re the most chill. And we thank them for stimulating our economy by dining at Famoso.

Near us, an increasingly drunk girl grew tired of listening to some guy tell her about his degrees and made plans to scale a fence, sneak into the back stage area, and get it on with Bahamas. Not sure I’d have put money on her climbing ability at that point in time but I hope her evening ended well, however it ended.

Between sets, we went to sit down by the remaining food trucks. After resting our tired old people legs, I ran into a Dave on our way back in and we stopped for a chat. Mika wandered off, but promptly returned telling us how she was hit on by a guy asking what she was doing with her phone. When she said she was checking the score of the football game, the guy said something like “more like checking the score of the porn game.” I’d like to think I’m a good husband, but I don’t think I can honestly take any credit for the failure of this gambit. Mika did give me one free pass to try using this line on someone should the opportunity ever present itself; if I can pull it off, I’ll be sure let you all know.

I first saw A Tribe Called Red five years ago, and if you’d asked me, I’d have guessed two years ago, and I’m feeling some existential dread right now. At least I enjoyed the show a lot more this time around. I think it was the setting – the crowd was really into it, and the larger stage had room for Indigenous dancers, including a ridiculously impressive hoop dancer, and an adorable little jingle dress dancer who would sneak waves at friends and family in the crowd while waiting in the wings. That the band decorated part of their gear with stinky old LJN rubber toy wrestlers and had wrestling footage as part of their video effects didn’t hurt. I did see some old people in the crowd who looked decidedly not into the music, but I also saw a dude in a T-Rex mask who was really into it, so that all evens out.

SATURDAY, AUGUST 10

I had good intentions to check out some of the free daytime stages, but no.

SUNDAY, AUGUST 11

I had good intentions to check out some of the free daytime stages, but no.

We did make it down for Kathleen Edwards, though, if only so Mika could get the falafel she had hoped for on Friday. With no tickets and no real agenda beyond “let’s get there in time for Rae Spoon’s teaser set maybe,” it was a pretty casual evening.

Everything worked according to plan. Mika got her falafel and enjoyed it until feeling the effects of being glutened later that night. I got my first ever bánh mì, and I can’t speak for its authenticity nor its quality compared to other bánh mì, but it was super tasty. I kind of hope it was a terrible example of bánh mì, because if so, a good one would be mindblowing.

We ate and listened to a short set by Rae Spoon. Only a few songs, including There is a LIght (But it’s Not For Everyone) and the family-friendly version of a song I’ve seen them play before, Do Whatever the Heck You Want. Enough of a reminder that I need to catch a full show the next time they come through town.

Finally, it was time for Kathleen Edwards. She’s great. Of course. Played a bunch of songs I like; “all the hits,” as Mika put it. There was some new stuff. I think at least one song was the same new stuff as we heard in Bengough. Now, it’s important to note that as freeloaders, we couldn’t actually see the stage. Which is fine, we were there to listen, but it does mean that my descriptions of what was going on could be very wrong. For example, she had one musician with her, and was later joined by a member of Blue Rodeo. Or maybe several? Or maybe was just making jokes at Blue Rodeo’s expense? I’m pretty sure my initial description was right but I could be making it up entirely. But does that matter? You weren’t there and I won’t remember.

In here, I did make a tactical error. Remember the bannock truck from Friday night? I’d been told they made a mean bear paw (think beaver tail, or elephant ear, or your regional term for big fried dough with sugar on it) and went to get one. Which I did, but it was not what one would call a smooth experience. It had to take at least 20 minutes, maybe 30, and that’s with all of four people in line in front of me. And while the truck was closer to the stage than where we were sitting, it was also a lot noisier over there, so to be honest, I really didn’t get to hear most of this. At least the bear paw was exactly as good as you’d think fresh fried sugared dough would be, but I could have bought one at the farmer’s market sometime when Kathleen Edwards wasn’t concurrently singing.

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.