Posts Tagged ‘slcr’

SLCR #324: Colter Wall (October 16, 2018)

October 20, 2018

Colter Wall is another one of those folks where it’s been cool to watch his progression. It wasn’t all that long ago that he was playing a teaser set at the Regina Folk Festival, not yet being a big enough deal for a main stage spot. Then he’s selling out the Exchange. Now he’s in the hall at Conexus Arts Centre, and I recognize that these place names only mean something to about three of you. It’s bigger, is the point. I think you got that from context.

Steve Earle called Wall “the best singer-songwriter I’ve come across in years.” High praise. And Brock Lesnar and “Stone Cold” Steve Austin had an animated discussion about their shared fandom of Wall on WWE Network and while I’ll defer to Earle as far as musical knowledge goes, that was still weird and unexpected enough that I’ll bring it up anytime Wall’s name is mentioned. Like the last time I had to write one of these things about him.

I just looked back to confirm that last point and this review, thus far, is thematically so similar to the last one that it reads like I just re-wrote it. Which I didn’t do, but should have. I could be in bed by now.

Doors at 7:00, show at 8:00. There are good reasons to be late for a concert, but switching over the laundry and finishing up washing dishes probably aren’t among them. I should be careful, lest I damage the rock n’ roll cred I’ve so carefully built up over the years. And anyway, I only missed opener Blake Berglund’s first few songs, arriving just before he was joined on stage for a few songs by (his wife? his fiancée? did I mishear that whole thing?) Belle Plaine.

I might have misheard it. The sound – and this was true for Colter later on too – didn’t do anyone any favours. Really heavy on the bass and muddy vocals. I got better at deciphering things as the night went on, but if I wasn’t familiar with the song beforehand, I was often pretty lost. That said, I still enjoyed the set well enough, especially when Plaine was out there. It’s hard to say she made a surprise appearance when they’re always popping up at each other’s shows, so let’s just say she was unannounced and welcome.

Colter Wall has been likened to Johnny Cash, which seems like the most unfair thing you can do to a young musician but that’s not going to stop me from repeating it here. Apart from a comparably deep voice, Wall has clearly been raised on Cash and the other legends of classic country, taken that history, and put his own spin on it.

And now we’re back to guy with guitar and me not having a lot to say, the most familiar of all SLCR territories. Wall did the first few songs by himself, then brought out his band, and then had Blake and Belle back out with him for the encore. Sound issues aside, this was all good. I don’t know if it was a significant upgrade from listening to his albums, though.

I should have shown up earlier and stood closer to the front – normally, I’m all about hiding at the back, but the front seemed to be for people standing and listening, and the back was for the drinkers and partiers. Only a handful of Wall’s songs are rockers; most are better for listening and it wasn’t always the easiest to do that. Nobody was being a jerk, it was just kinda loud and distracting.

Well, almost nobody – I did think I was going to see a fistfight between Happy Loud Drunk and Angry Quiet Drunk. Happy Loud honestly didn’t seem that loud to me – no worse than 50 other people near me – but Angry Quiet had other thoughts and most of them were the f-word. Nothing happened but eventually a security guard took a permanent spot near them. Earlier, I’d seen two security guards keeping watch over a few ice cubes that had been spilled on the floor, so they were probably thankful for having something more interesting to do.

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

October 17, 2018

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

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

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

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

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

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

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

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

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

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

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

I may have quietly said one tiny swear word.

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

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

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

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

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

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

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

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

Here’s the whole setlist:

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

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

SLCR #322: Jonathan Richman (October 6, 2018)

October 14, 2018

A few years ago, Jonathan Richman was playing… somewhere. As musicians will do. Saskatoon? Winnipeg? Fargo? I can’t remember where and it doesn’t matter anyway. The relevant point is that Mika and I were visiting whatever city it was, and we saw the ad that said he’d be playing there a few days after we were leaving. She was disappointed that we wouldn’t be around to see him. I offered to come back for the show, but knew that it really wasn’t feasible. Wherever it was. So when I heard about this show at the Roxy Theatre in Saskatoon, I grabbed us a pair of tickets.

On the drive up, I had visions of struggling to write this review. Jonathan Richman’s career has spanned nearly 50 years that I know pretty much nothing about. Mika’s played me a few of his most famous songs, and I wasn’t familiar with them. He and drummer Tommy Larkins (who was also at this show) were in There’s Something About Mary, in what I gather were pretty prominent roles, but somehow I’ve never seen it. I pretty much expected this would be guy-with-guitar accompanied by guy-with-drums singing songs I don’t know, which can be quite pleasant, but always leaves me challenged to find something to write about.

And it was that, kind of. But nothing like I was expecting.

Doors at 7:00, show at 8:00. Rush seating, so we didn’t want to be too late, nor did we want to spend a ton of time sitting around. We left as late as we could to give Mika as much homework time as possible, but timing drives is tricky. After an uneventful, podcast-laden road trip, we got to the theatre right at 7:00 – the third and fourth people to arrive. They let us into the theatre and we took our seats – front row centre were available, so why not?

We walked into the theatre past quite a few NO CELLPHONE signs. I took a picture of the drum kit set up on the empty stage and put my phone away – after we spent, like, 45 minutes scrolling through our respective Instagram feeds, showing each other cute animal pictures. It’s become our pre-concert tradition. I should mention that we also walked past a sign that said they’d ask for ID unless you look older than 45. And they didn’t. I took a picture of that too.

More people trickled in; though the place was never that full, the people who were there were devoted fans. And me, I guess. One girl sat by us and got Mika to take her picture in front of the stage. As she reviewed the picture, Richman and Larkins emerged from the back of the theatre and walked the aisle up to the front. Richman passed our new friend and chastised her for illicit cellphone usage. Those signs meant business! He did, however, compliment the vintage tour t-shirt she was proudly wearing.

With no instruments, Richman began singing Not So Much to Be Loved as to Love. Starting a song a capella was something he would do throughout the show. His songs were sweet, often simple, and catchy. He sang of love and human connection and art and wine, with more than you’d expect in Italian and French. Not that I knew enough to expect any.

For “just” guitar and drums (and a bit of simultaneous shaking of maracas and hips), the two had a great sound. Sitting up at the front, I could closely watch Richman’s guitar playing and the guy is an incredible talent. I might go so far as exceptional, just because that’s the kind of skill you have to display for me to notice. Not to be outdone, Larkin easily handled a freeform, no-setlist show and was given several chances to take centre stage. Metaphorically, I mean. You’re not going to move a whole drum kit just for one solo. You understand.

Looking through Richman’s more recent albums, I can tell you he played Because Her Beauty is Raw and Wild, Le printemps des amoreux est venu, and He Gave Us the Wine to Taste. A few times, people called out for older songs and they were soundly denied. One person asked for Abominable Snowman in the Supermarket after he’d already said what he was going to play next; he blew off the request saying he was ready to play the other song and couldn’t think of two things at once. A later request for Roadrunner got a longer, very thoughtful explanation as to why he doesn’t play that song anymore, which I will artlessly sum up as “I play what I feel and I haven’t felt that song in 30 years.” He said it better, though, and the crowd heartily applauded his explanation.

They also really liked it when he told off the guy who was using a cellphone. I’ll be honest, when I see “no cellphone” signs, I put my phone away during the show and I say it’s out of respect for the artist’s wishes but really I just don’t want to catch hell in front of everyone.

The night was over relatively quickly, at just under 90 minutes. He left as he entered, walking back up the aisle to the lobby, though he stopped halfway to since one more song a capella in Italian. Or maybe it was Spanish and I just think everything is Italian now?

The show was charming, delightful, and, to this newcomer, curiously different. About as different from “guy-with-guitar accompanied by guy-with-drums singing songs I don’t know” as it could be while still perfectly fitting that description.

There was one fellow there whose behaviour during the show might be best described as unconventional. First he paced back and forth in front of the stage for a few songs. Then he removed his glasses and did it again, seven or eight more times, all while ceaselessly rubbing his hands through his hair. He disappeared for a bit, came back with a beer, and sat on the stairs leading up to the stage. At one point, in the middle of a song, he got up and used the flashlight on his contraband cellphone to examine the artwork painted on the walls of the theatre, an act so out-of-place that Richman thought better than it best to just ignore. Anyway, I guess he liked the show, because a few minutes after Richman was done, just as we were leaving, he hollered “maybe THIS will end war!!!” I guess there’s a chance? I mean, I’d be okay with it. Doesn’t look like we’ve made any progress so far but maybe I have to post this first.

SLCR #321: Queer Songbook Orchestra (October 3, 2018)

October 13, 2018

The Queer Songbook Orchestra is a 12-piece chamber pop ensemble traveling across Canada telling queer people’s stories. I mean this literally – they’re joined in each city by local readers who preface each song with a story submitted from across Canada.

This concert was put on in association with the Regina Folk Festival, though it didn’t open with the familiar sight of a local radio personality plugging upcoming shows and thanking the list of sponsors. Won’t someone think of the SOCAN Foundation? Instead, they went right into the show, starting with a brief introduction talking about the mission of the QSO. I did think it was a little funny when they mentioned wanting to take the show to places where there’s less of a visible queer community, but the big crowd reaction was reserved for the specific phrase, “not just Toronto and Vancouver.” I get it; I hate the two-city “Canadian tour” as much as anyone. It just made me laugh that even in the face of the night’s positive message, our little big city inferiority complex still reared its head.

After that, the show was split into two sets, mostly following the format of story, song, story, song – though I’d be remiss if I didn’t mention the poetry reading at the start of the second half that stole the show with passion and humour. Each story made reference to a specific song, but beyond that, they varied greatly – some were funny, some sad, some hopeful. One was particularly heartbreaking. It would feel weird to recap them here since they’re not mine to tell and an abridged version wouldn’t do them justice anyway.

The songs were of special importance to the folks who wrote in with their stories, so it’s no surprise that many of the songs were by queer artists, or those with significance to the queer community. We got Changes (David Bowie), Heart of Glass (Blondie), Could I Be Your Girl (Jann Arden), Fast Car (Tracy Chapman), and others by Joni Mitchell, Ani DiFranco, and more. Most of the arrangements stuck pretty close to the originals (just, you know, with an orchestra), though their version of Sprawl II by Arcade Fire slowed things down, where I thought the original benefitted from having that extra energy to it.

For all of the stories and songs, the night’s most emotional moment came near the end, when QSO artistic director (and trumpet player) Shaun Brodie addressed the crowd after introducing everyone else in the ensemble. He’d grown up closeted in Regina and joked that the blurb on the front page of that morning’s newspaper – Concert a Homecoming for Queer Musician – read like the nightmares of his 14-year-old self. In the full story, the paper included a photo they’d originally run in 1985 of seven-year-old Brodie getting help with trumpet lessons. Brodie credited that teacher for guiding him toward his career in music, and thanked his other music teachers (at least one of whom was in attendance) and other positive influences and role models he’d had while living here. Being out at home for the first time was clearly something special (if still nerve-wracking) to Brodie.

With that, we had the closing song, described as Canada’s unofficial queer national anthem. I’m not sure what I would have guessed it would be, but it wouldn’t have been We’ll Reach the Sky Tonight by Rita MacNeil. In fairness, my knowledge of both Rita MacNeil and queer anthems is lacking. I’m pretty this is the only MacNeil song I know, and only because it was featured regularly on Rita and Friends in the days when we only got three channels in English.

All told, I thought the music was great and the show felt important. The sound at the Artesian was great, and the venue was the perfect size to host such an intimate, personal show. All that said, given the evening’s nature, it feels weird to critique it like a normal concert. Luckily, these write-ups generally wind up less like actual reviews and more recaps of an evening out with a particular focus on my own buffoonery, so maybe we’re in the clear here.

SLCR #320: Cadence Weapon (October 2)

October 12, 2018

Are you ready for three opening acts? On a work night? On the day of our first real winter snowfall?

Probably not. I mean, I wasn’t.

This was a classic example of a night where if I hadn’t bought a ticket well in advance – this was announced back in May – I wouldn’t have gone. Even with the ticket, I still thought about skipping out. The ticket was only $15 and I’m old and I tire and I come from a long line of seniors who run the furnace in the middle of the summer. I like rest and warmth.

Apparently, my fellow citizens feel the same way. The tickets said doors at 7:30, show at 8:00. I arrived at 8:35, nothing had started yet, and the crowd consisted of 16 people. I counted. This number only got worse when I realized I’d accidentally included all three openers in my tally, since they were hanging out in the audience. A couple more folks showed up over the course of the evening, but that was all – even by the very end of the night, I think we’d have needed to count musicians and venue staff to break 30 people. This was the second-smallest audience for a concert that I’ve ever been to, topped (?) only by that ill-fated first Son of Dave tour over 15 years ago. Really, I’m not sure why nobody made the call to move the show into the Club, the smaller room at the Exchange. At least the room wouldn’t have looked quite so cavernous.

Anyway, I bought a pop, grabbed a chair from the stack along the wall, and found a place to park myself. I wind up going to a lot of shows by myself and I don’t really mind, since nobody pays attention to the old guy and I can just sort of blend into the crowd. That wasn’t happening here, not that it mattered. I did wind up making fast friends with two women who were sitting near me, by which I mean I held their table for them a few times when they went outside to smoke, and otherwise we didn’t talk. I don’t think it was in any danger of being taken but it’s good to have a purpose.

Local musician Loa, or possibly LOA, pronounced “low,” was first up, and immediately ran into some technical challenges. They shut off the background music so she could perform, but her mic wasn’t working, and that took a while to fix. Meanwhile, they didn’t turn the background music back on right away, and you could hear every conversation in the place, every footstep… it kind of felt like time stood still. Eventually they sorted things out, though another snafu shut off one of her prerecorded beats mid-song. She sounded a little nervous when she talked but ultimately handled a tough situation (or two or three) pretty well. Her music – electronic pop with R&B influences – wasn’t really my thing, though that’s just more my tastes than anything, it was all done well.

If they were making any concession to the small crowd, it’s that there was no messing around between acts. Maybe five minutes passed between Loa ending and Hua Li starting up. It really could have been a bit longer, since basically the entire audience except me all collectively went for a smoke when Loa finished.

As a female rapper from Montreal of Chinese descent, Hua Li is unique in my concert-going experiences. She took the stage with confidence and pretty much killed it. With everyone outside, she started her set in front of literally three or four people, but everyone swarmed back in as soon as they heard her. She held everyone’s attention with powerful fast flows and some slower grooves. At one point, Li called everyone up to the front so that she could tell a personal story about her mom and about the experience of growing up the child of an immigrant – I was going to stand but I happened to be on table-watching duty at that moment which is the worst legitimate excuse I’ve ever used. She also mentioned being appreciative of the opportunity to share the bill with another woman for the first time on the tour.

Literally seconds after Li was done, Fat Tony was on stage. I noticed that this tour is continuing into the US, and there, Tony, coming from Houston, is the headliner. This was my first exposure to him, and – rap expert that I am – I thought he was fantastic. He took the stage and brought the lights down low, the better to see that he was rapping in front of a projected background of Heathcliff cartoons and Space Channel Five game footage. And then he had the lights brought back up so he could actually see his pedals. He was funny, super charismatic, and prone to yelling. And while he was mostly focused on performing songs from his new record 10,000 Hours, which just came out, we even got a Regina-specific rap about how much he liked his lunch at Hunter Gatherer that day – “and they ain’t even pay me to say that shit.” I still haven’t been, but apparently the burger of the day and a cup of soup is the way to go.

Finally – I say that though it was still pretty early – Cadence Weapon came out with Hua Li as his DJ. I moved up to the front and found a nice pole I could lean on. Really, I think everyone there went up to the front. Cadence Weapon (is it cool to just say Cadence? Or Mr. Weapon?), the former poet laureate of Edmonton, treated us to songs spanning his entire career, everything from his recently released self-titled fourth album, to a few songs (including Sharks and Oliver Square) from his debut, Breaking Kayfabe. We even got some new unreleased tracks – all delivered with energy and finesse.

There was a funny moment when he introduced a new-ish song about the greatest hockey player. After dismissing one audience member’s guess of Kanye West, everyone decided that the song was about Wayne Gretzky. Cadence Weapon clarified that the song was actually about the greatest active player… Connor McDavid. And everyone in unison said “…oh.” It was one of the greatest mass disappointments I’ve ever heard. People didn’t even care enough to be angry about the pick. It makes sense, Edmonton and all. Just… oh. The song itself was fun, helped along by two girls who tried to hijack the call-and-response part where we were supposed to yell “Connor McDavid” by yelling “Wayne Gretzky” instead.

At the end of his set, Cadence Weapon made the closest thing to an acknowledgement of the crowd size, saying something along the lines of “tell your friends who aren’t here that they missed a hell of a show.” And they did – this was a great show and everyone gave it their all, even when you know their hearts couldn’t have been all the way in it. As much as I’d love to blame this on how hard it can be to get people out in Regina sometimes, I’m not sure it’s going better anywhere else. They were scheduled to play Calgary on the night after Regina, but that show wound up cancelled with no reason given. Earlier this week, I saw that there was a price drop on tickets for students for their upcoming Saskatoon show, but the deal was open to everyone since “we were all students once.” I don’t know what the deal is – I know Cadence Weapon went six years between albums, but that couldn’t be it exclusively. Maybe there are just too many shows right now and people are picking and choosing? October is my most loaded concert month this year, and I’ve passed some things by. Whatever the reason, I hope things turn around – something this good deserves to be seen.

SLCR #319: The Fred Eaglesmith Show starring Tif Ginn (September 23, 2018)

October 1, 2018

That’s what the poster called it so that’s what I’m calling it, at least once. And probably never again.

Let us briefly recap my history with Fred Eaglesmith, such as it is. For a long time, people have told me that I’d like his music. How long? The first song of his I ever heard was Time to Get a Gun, which Apple Music tells me came out 21 years ago. That was also the only song of his I heard for years. There were always other shows to go to, other CDs to buy. I don’t know what my excuse was in the Napster era but I clearly had one. Finally, two years ago (to the day, as I’m writing this), he came through town and the stars aligned (meaning I bought an advance ticket so I wasn’t likely to back out at the last minute) and I got the chance to see him. And sure enough, I had a really enjoyable time.

This time out, I got to the Exchange a few minutes before the show was set to start. It seemed a fair bit less busy than last time; I don’t attribute that to anything other than it being harder to get people out on a Sunday night than a Saturday. I took a seat in the back along the wall.

Right on time, we were joined by Fred Eaglesmith and Tif Ginn. And a kid? Their kid, specifically. Or so they said. I mean, I don’t know this kid. He’s in Grade 4 (home-schooled, or rather, “bus-schooled”) and his name is Blue, and he also has a real name that’s not Blue, but does that matter? All three of them sang two songs, then Blue sang a song by himself that he wrote about a puppy, then all three sang another song. Just as I was thinking “so… is the whole show going to be this?” Blue was done. Eaglesmith made what I thought was a joke about sending Blue to work the merch table, but I’m pretty sure that’s what he actually did.

This was, thus far, not my thing. One song would have been cute. Four? And it wasn’t like the kid was bad. It’s just… let me tell you this. When I was roughly that kid’s age, my dad bought me my first cassette player. He also got me two tapes, which I can only describe as wild-ass guesses as to my 10-year-old musical tastes: a Mini-Pops collection (if you’re younger than me, or possibly not Canadian, think Kidz Bop) and the greatest hits of Kenny Rogers. Despite only owning two cassettes for a while, I never even once made it through the first side of that Mini-Pops tape. Not my thing. I listened to a LOT of Kenny Rogers.

I may as well add here that when I was in high school, my dad also got me my first CD player and made a similar wild-ass guess as to what I’d like for my first two CDs and they were Tone-Loc’s Loc’ed After Dark and the Days of Thunder soundtrack. Days of Thunder got played only slightly longer than the Mini-Pops but at least it had Knockin’ on Heaven’s Door on it.

Anyway, back to the topic at hand. The rest of the show was pretty much exactly like that one two years ago. I recognized some of the same songs. He told some of the same jokes. Ginn sang a song or two on her own and sassed him a bit and played everything from ukulele to melodica to accordion to drums.

And like before, Fred spent a lot of time talking to the audience. The theme of “let’s all get along and everybody be nice to each other” is coming up a lot at these shows lately, and I get why, and I’m going to endorse it every time out (even though I don’t always do the best job of living it myself). The talk about “can you believe people buy expensive TVs to watch millionaires throw the ball around,” though – kinda hackneyed and also not real high on my list of pressing concerns these days.

I don’t generally mind when a show feels a lot like one that came before it, as long as the one that came before it was good. This time, though, I wasn’t feeling the start and so it took me quite a while to warm up to things. Which isn’t really fair – most of the show was what I was wanting. Eaglesmith mixes equal parts storytelling, humour, and commentary, an appealing mix which makes his songs quite listenable. And the sound at the Exchange was fantastic; I’m hardly even an Eaglesmith neophyte, much less an expert, but I could easily make out every word. The music sounded great as well. Really, everything was fine, just felt a bit like a rerun that I wasn’t quite as into the second time around.

SLCR #318: Frank Turner & The Sleeping Souls (September 12, 2018)

September 23, 2018

I went to Calgary this spring. That isn’t really news – I visit my grandma twice a year – but I didn’t go to any concerts so it was my first SLCR-less Calgary trip in some time. If you only know of my comings and/or goings through these reviews, you might not have known (or cared) that I was here. As though you care now. Anyway, at the end of that trip, when Colin dropped me off at the airport, he suggested I come back for the week of September 10, so we could go see The Book of Mormon. Some quick Googling confirmed that if I did, we could go see Frank Turner too. Though to be honest, I really didn’t think it would happen – They Might Be Giants had teased a Canadian tour announcement was coming and I figured Calgary would be my best bet to see them. I’ve been a fan for close to 20 years and they’ve never come any closer than Minneapolis. Then TMBG booked a date in Saskatoon, so suddenly, my Calgary trip was set.

There was quite a bit happening in Calgary this week; unfortunately, most of it was running at the same time as the stuff we had tickets for. Andrew WK was playing opposite our showing of The Book of Mormon. Greta Van Fleet and Frank Turner were on at the same time. Too bad. And yet, I wrote most of this on the Friday night of my trip with nothing better to do. I guess I could have overpaid to see Sam Smith at the Saddledome in hopes that he’d play the worst James Bond song since Madonna’s.

The Book of Mormon was on Tuesday night. I won’t bother giving it a full review here but while it was very different than what we were expecting, we both really enjoyed it. Also, for the longest time, I was convinced that we were seeing Frank Turner on the night BEFORE The Book of Mormon, so I briefly had a big ol’ freakout thinking I bought tickets for the wrong day. All was good, though as we were entering the theatre, the couple next to us actually HAD bought tickets for the wrong day. It turns out that in that situation, you go talk to a representative from Ticketmaster and hope for the best. I don’t know if they ever got in or not.

We got some tasty Thai food before the play, and we lingered a bit over dinner which led to a bit of a panic getting to the theatre on time. We made it to our seats with about a minute to spare. With that in mind, we planned to meet up earlier before Frank Turner. This was a good idea that didn’t pan out – Colin got held up at work so I took some time to explore his neighbourhood. I checked out the record store and the bookstore and saw a hairy crazy man on a bike (he had a big wordy sign that I couldn’t really read – also, he stopped to buy or possibly sell drugs) before meeting Colin at the same barbecue place we’d eaten at in the spring. I got smoked turkey breast, bacon-wrapped corn on the cob, and a corn muffin with honey butter. This was tremendous, and barbecue is a good choice if you’re in a hurry since everything’s cooked before you get there. Unfortunately, even the barbecue miracle workers can only do so much. We finished our dinner, found our way to the university, and got there in time for the last song from the first opener.

So yeah, my review of Bad Cop/Bad Cop is based on all of one song. They’re a four-piece all-female punk band and their one song – whatever it was called – was very loud. It’s been a long time since I’ve felt quite such overwhelming loudness. Also quite a long time since I’ve seen a straightforward punk band. Not that I’m complaining – I liked what little I heard and while it’s not my usual thing, there’s always something to be said for mixing it up.

Next up was Sam Coffey and the Iron Lungs. As the band took the stage, we discussed which one we thought was Sam and which we thought were Lungs. This game got much less challenging when we saw that everyone was wearing denim vests, apart from one fellow, whose shirt could best be described as cape-like. Lead singers get capes. But even without the wardrobe hint, it would have been obvious. Coffey has an encyclopedic knowledge of rock ‘n’ roll frontman poses. Though he did run the risk of being upstaged by one of the guitarists, a large, tattooed, very smiley man with a rainbow-striped t-shirt under his denim vest.

I knew nothing about these folks going into this show but was quite impressed. Fun, high-energy rock from guys who really tried to put on a show. I could have written those two sentences about the Arkells – and in fact, I think I did – and I think if you liked one of those bands, you’d like both. Their set was about 45 minutes and it flew by. I’d make a point of seeing these guys again.

Someone in the crowd was wearing a NOT DEAD YET shirt, that being a line in Turner’s song Get Better, my favourite of his. Colin didn’t know the reference but still enjoyed the sentiment behind the shirt. After Coffey’s set, we checked the stuff table to see what was there – that shirt must have come from a previous tour. Also not available at the stuff table: the Bret “Hitman” Hart jacket that some dude was wearing. It was a bold fashion choice but I dug it.

This review is kind of pointless because I knew I’d dig the show and you likely did too. I was interested in what Colin’s reaction would be. He only knew one of Turner’s songs, Recovery, so he was going in pretty cold. He seemed to really like it; Turner played the one song he knew, as well as the song from that guy’s shirt, so he was happy. And like me, he enjoyed that one line from the song Try This at Home: “There’s no such thing as rock stars, there’s just people who play music / some of them are just like us and some of them are dicks.” But more than the music, he seemed really taken with Turner’s relentless positivity. Turner has two rules for his shows – don’t be a dick, and sing along if you know the words – and he spoke a lot about how we can all come together for a rock show and treat each other well, and how we should take that positivity into the world when we left there. Unsurprising, I guess, from a guy who named his most recent album Be More Kind.

Of course, we got lots of songs off that album – so much so that Turner joked that “this fucker’s only playing new shit” before launching into old favourite If Ever I Stray. One new song, The Lifeboat, he said they’d only played three or four times before, and this was the first time ever in Canada. The old songs got great reactions, of course, but Turner’s got some devoted fans who sang along to everything, old and new. It is one of the rules, I suppose. For the most part, Turner played with the full band, the Sleeping Souls, but he did a handful of songs by himself. Toward the end, he got the crowd to make an open circle for people to run around in (I got sideswiped real good by a high-velocity passerby), then called everyone to some close and stand together, then eventually crowdsurfed while singing. Twice. A sign said you’d be thrown out after the second time you got caught crowdsurfing – I guess it doesn’t apply to you if you’re the guy people paid to see.

Want the whole setlist? Here it is anyway:

Don’t Worry
1933
Get Better
Recovery
Little Changes
The Next Storm
The Way I Tend to Be
Be More Kind
Demons
The Lifeboat
If Ever I Stray
Try This at Home
One Foot Before the Other
Balthazar, Impresario (solo acoustic)
Song for Eva Mae (solo acoustic)
Love Ire & Song (solo acoustic)
Blackout
Out of Breath
Photosynthesis
encore:
Get It Right
I Still Believe
Four Simple Words
Polaroid Picture

No real surprises, but does that matter? It was exactly what – and as good as – I was expecting. This was my fourth time seeing Frank Turner, and I’ve enjoyed watching his progression from opener to headliner, from MacEwan Ballroom to the larger MacEwan Hall. He tours relentlessly – as he told us, this was show #2,232 – and the effort is clearly paying off with larger, more devoted crowds every time out. Just a fantastic live show and a positive message at a time when people could use one.

SLCR #317: Regina Folk Festival (August 11, 2018)

August 22, 2018

Festivals can be tricky to write about since you get a bunch of different artists, some you might not know anything about, and often not enough time for them to leave a lasting impression. And you – this time I mean you, specifically, whoever is reading this – probably don’t want to read a list of names with me going “it was fine” over and over.

Luckily for you, God intervened. An afternoon temperature of 42C before the humidex put a hold on our plans. We’d already foregone the weekend passes in favour of just the Saturday night, but the heat was such that we held off even further, opting to show up after 9:00pm. As we got exchanged our passes for wristbands, Pierre Kwenders was just wrapping up. We took a walk around the vendor area, and I don’t know if I’ve ever seen the food trucks so dead. I know it was later in the evening, but still. Only the places that specialized in cool drinks had significant lines. I think it was just too hot to eat.

Since we showed up so late, we left our chairs in the car and stood down at the front. Gotta be the first time I’ve done that at the folk festival in a decade. Between sets, Zoey Roy was doing a spoken word performance – very impassioned and got a great reaction from the crowd. I’m not sure that poetry readings will ever be 100% my thing, but when done well and in front of an appreciative, supportive audience, I have a better understanding of the appeal.

Of all the artists at this year’s festival, I was most excited for Tanya Tagaq. We’d seen her with the symphony recently, but this was our first opportunity to see a full performance. Her music is a modern take on traditional Inuit throat singing and she was accompanied by, among other musicians, a Theremin player. This is not music I would listen to every day but it fits certain moods very well. Specifically, the moods of “I want to completely discombobulate my brain” or “I want to get ready for war.” In a literal sense, I mean – if I had to grab a gun and charge into battle, I’d want this playing. Her music is powerful and vulnerable and otherworldly and scared at least one nearby small child. It sounds unlike anything else I’ve heard and makes me feel different than any other music too. When I was younger, I probably would have hated this. She sang for an hour and it flew by. Amazing.

Between sets, we found a bench, and, somehow, Rheanne. We run into her every year, apparently even when it’s dark out and we’re only there for a few hours.

On our way back to the stage, we passed a very drunk lady being walked out of the park by security. Or at least that was the goal; when we saw her, she’d stopped to give out high-fives, take selfies, and sing Sweet Child O’ Mine with other festival-goers. It’s not often you get to say “there’s a very patient security guard.” Anyway, I had no idea alcohol could make you so happy. I should investigate further.

The night’s headliner was Neko Case. I’d seen her a few times before, including once at the festival, and I always came away a little underwhelmed. In what I always felt was an unfair way, you understand. She’s so incredible that I went into her shows with sky-high expectations that were never quite met. This time, though, was easily the best of her shows that I’ve seen. It would be easy to chalk that up to my expectations but I don’t think that’s quite it. She seemed to really be inspired and emotional to be at the festival, having worked earlier in the day with Girls Rock Regina, a girls’ music camp (and wearing their shirt during her performance). She also talked about how excited she was to finally see Tanya Tagaq (they always play the same festivals but on different days) and dedicated a song to Zoey Roy. It seemed like she was really feeling the festival and that came through in her performance. Even if she was eating and being eaten by bugs because of the spotlights.

Case is touring her new album, Hell-On, which I’ve listened to, but not a ton. We got lots of songs off it, of course. Fewer of the old classics but “Hold On, Hold On” is my favourite of hers and she played that one, so no complaints here. But the best moment for my money was during the song Man, a song about masculinity and gender roles and also one of the rockier songs of the night. These two ballcap bro-dudes heard the opening notes and they were SO into it. They yelled WOOOO and threw up devil horns and hugged and rocked out like nobody’s business. And then they were joined by a third guy, and they all stood in a circle, holding hands, jumping up and down and pumping their arms to the music. The song is great. Their reaction was fantastic. The two combined? Perfect.

And then we went home. Makes for an abbreviated festival recap this year – I trust everyone had fun at Walk off the Earth and Shakey Graves and Bruce Cockburn and Michael Franti. Next year is the 50th annual folk festival, so we’ll see who they bring in. Better believe my expectations are already completely unreasonable and we’ve got seven months until the initial lineup announcement.

UPCOMING CONCERTS:
• Frank Turner & The Sleeping Souls with Bad Cop/Bad Cop and Sam Coffey & The Iron Lungs (September 12)
• The Fred Eaglesmith Show starring Tif Ginn (September 23)
• Cadence Weapon with Fat Tony and Hua Li (October 2)
• Jonathan Richman (October 6)
• Crash Test Dummies (October 11)
• Colter Wall (October 16)
• They Might Be Giants (October 20)
• Hawksley Workman & the Calgary Philharmonic Orchestra (April 13)

SLCR #316: Arkells (August 2, 2018)

August 20, 2018

This is relatively short and mostly about food but it’s also three weeks late, so whatever. This was our third year seeing a concert at the Queen City Ex and honestly, I thought it was kind of slim pickings this year. Two country acts, Burton Cummings, the Regina Symphony doing Michael Jackson and Prince songs, and the Arkells. I feel like we chose wisely despite my eventual realization that while I’d heard other musicians (Hawksley Workman, Frank Turner) say good things about them, I didn’t actually know any Arkells songs. Though I do confess some curiosity about how well the Symphony would pair with stifling heat, a giant plush Pikachu, and a corndog.

Mika and I went early this year, arriving at the fair shortly after 11:00am so that we could spend the first part of the day with her friend Christine and her kids. The kids rode rides and displayed passionate interest in every kind of carnival game. I sweated a lot and lost to Mika at both Whack-a-Mole and squirting water in the clown’s mouth. Also, I followed up some deep fried cheese curds with the stupidest thing I’ve ever eaten, deep fried bacon-wrapped Reese’s peanut butter cups. Eventually, we watched a scintillating performance from Doodoo the Clown, who was apparently in the movie Billy Madison. I don’t remember there being a clown in Billy Madison, but that might only be because I’ve never seen it. The kids had fun. Eventually, full of delicious sugars and fats, we were all overheated and so they headed home. With hours to go before the concert, we also headed home for air conditioning and a nap.

Dear future James, for your reference, if you leave the fair and come back, your handstamp will let YOU back in for free, but there are no in/out privileges as it pertains to parking.

Back inside, we went straight to the concert grounds for our openers, Sc Mira. You may remember that we saw them open for Buck 65 a few years ago. That felt like an odd pairing at the time, and even more so now when I did the “who did they open for again?” check through the old reviews. They felt like a much better fit with the Arkells, which makes it too bad that basically nobody saw this set. There were seriously maybe 20-30 people there when they started and it filled up a bit as they played, but really not that much. You wouldn’t have known it from their performance – it has to be challenging playing in front of a small, apathetic crowd (especially in such a big space) but they still brought it. Lots of new material and a marked increase in stage presence too.

With a lengthy break between bands, we went in search of dinner. Mika went one way to get some corn on the cob, which isn’t really fair-level crazy but non-glutenous options are scarce and limited. I went the other way in search of something I’d seen earlier, but I don’t know my directions got turned around. Luckily, this led to running into and chatting with Chad and his family for a bit. I eventually did find the “grilled cheese dog” that I was after, but whatever you’re picturing in your mind as a grilled cheese dog is more exciting and appetizing than what I got. Poor choice, me.

Dear future James, for your reference, just get the corndog with a pickle in it. You like corndogs. You like pickles.

We met back at the concert grounds, and dang. The Arkells fans are late arrivers, but when they get there, they show up en masse. The place was packed. We stood near the back.

It’s not entirely true to say that I didn’t know any Arkells songs. Mika’d played one of them in the car. Two others, I recognized a little bit from… somewhere? I don’t know. Being alive and often in the presence of background music? I didn’t know enough to sing along with anything, let’s put it that way. And yet, I didn’t really care. These guys had huge energy and were a blast to watch. Singalongs, clapalongs, running through the crowd, they were never not engaging with the audience. Fantastic live performers. And I did know one song after all, since the first song of their encore was Whitney Houston’s I Wanna Dance With Somebody. Which seemed like a weird fit for about 5 seconds but then totally wasn’t. Would definitely go see these guys again. Worth the admission. Worth paying for parking twice. Worth that sub-par hot dog. Maybe I should listen to any of their stuff someday.

On the way out, determined to make one last bad decision, I got white chocolate cheesecake mini-donuts. The girl cautioned me that instead of your standard bag of mini-donuts, there were three of them. For $10. I was already committed to this idea so I went along with it. And I have to say, what they lacked in quantity they more than made up for in quality. These were sensational. Hot and crispy with cheesecake goo inside and white chocolate drizzle. I don’t even like white chocolate.

SLCR #315: Gateway Festival (July 28, 2018)

August 15, 2018

This show could have waited a few days and I’d have been fine with it. As far as festivals go, it had one of the most James-specific lineups I’d ever seen, so I should have been more excited, but it had been a really long week. I got home on time on Monday evening. Worked late and got home after 9:00 on Tuesday, Wednesday, and Thursday. Only left an hour late on Friday to begin my two-week vacation (woo) but spent Friday night mowing the lawn, cleaning house, and doing all the other stuff I’d been putting off before my in-laws’ flight got in at midnight. Mika had worked late all week too. We needed groceries and I wound up buying bananas and milk at Shoppers Drug Mart at 11:30pm, which I think is a nice summary of how that week went.

All of which was great preparation for driving two hours to Bengough, watching a bunch of bands, and driving two hours back after midnight. I was actually feeling better on Saturday than I was expecting; sleeping in until 12:30 helped.

Soon enough, tickets in hand and lawnchairs in trunk, we were on the road. The drive was uneventful, which doesn’t give me anything to talk about but that’s still probably for the best. I mean, it’s fun to tell the story of how I hit a duck in the ass with the car on the way home from Bengough a few years ago, but I’d still have preferred to not hit the duck.

I had promised Mika we’d make it there in time for Library Voices’ set at 5:15 but that was before I was slow and lazy in the morning. And afternoon. And pretty much always. But I was still pretty sure that we’d make it, and they started their first song as we were walking into the grounds. Close enough. We found a place to park our lawn chairs and sat back for the show. Library Voices are one of the bigger bands to come out of Regina in the past decade, and yet, I don’t know that I’ve ever seen a proper concert by them, just short festival sets where they never play the few songs I know. Needless to say, that didn’t change here, but this was a quick fun hit of power-pop that started our festival experience off on a good note.

Onto the parade of mostly-local people I don’t really know much about and don’t have much to say about! Country singer Ellen Froese was up next with a mix of covers and originals. I enjoyed her set and she’s local, so I imagine I’ll see her again soon. She was followed by Seth Anderson. No band – just him and a guitar. He had a good sense of humour, playing off the sounds of soundcheck happening on the other stage during his set. (He may also have dropped a few f-bombs during one of his songs and it looked like maybe someone suggested that he please stop doing so, since we hadn’t hit the drunkening hour yet – but I digress.) I liked this too. Would see again.

Next was Zachary Lucky. Country singer. Deep voice. Probably something I’d really dig but I didn’t get to see much of him. I decided that I should get something to eat before the Karpinka Brothers, which seemed like a solid enough plan but it went awry. First I went to the merch stand to take a peek. Didn’t get anything this year. Next, I made the arduous trek back to the car – like, almost three or four whole minutes each way, some sort of death march – so I could get my glasses. I have regular glasses and sunglasses and whichever pair is not currently on my head is inevitably forgotten in the car. Finally, I had to survey the food options, settling on a food truck that made a waffle hashbrown sandwich. Basically, you get bacon and cheese inside two waffles made out of hashbrowns. It needed an egg for breakfast sandwich perfection but this was still pretty great and I’m going to try making hashbrowns like that here sometime. This, however, was not the speediest process – or possibly this truck had some efficiency issues – anyway, by the time I was back at my chair, the Karpinka Brothers were nearly done.

I went to high school with one of the Karpinkas (probably both, really, but Shawn was in my grade). I’ve run into Shawn a few times since high school. He’s always been nice and I’m always happy to see him and that’s not something I’d say about 95% of my graduating class. Before this, though, I’d never actually seen them play (apart from maybe a few songs in a Regina Folk Festival teaser set, but I’m not even 100% certain about that and it’s way too late for me to be fact-checking now). I still can’t say I really saw them, but I could hear them from the food truck of eternal wait and they sounded really fun. I’ll have to make it a priority to get to one of their shows soon.

I saw Megan Nash earlier this year and was looking forward to her set. She’s one of my favourite local musicians. She had a strict 30-minute set so she wasn’t as talkative as last time (or maybe it’s that she wasn’t all hopped up on cold medication), but this was still really good.

Onto the folks you may have heard of! First up was former Weakerthans lead singer John K. Samson, a self-described “lefty talk-singer from Winnipeg.” It sounded like there were some Winnipegers near us who were very happy to learn where he was from. Then he opened with Weakerthans classic One Great City!, which says “The Guess Who sucked, the Jets were lousy anyway” and has a singalong chorus of “I hate Winnipeg.” I’d say it’s still kind of a love letter to the city but said Winnipegers seemed to disagree. Anyway, I’ve seen John K. as a solo act before and he was all about playing his own songs and very few Weakerthans songs, but we got the opposite here. There were a handful of his solo songs, including Post-Doc Blues and Vampire Alberta Blues (neither of which are particularly bluesy), but most were Weakerthans favourites. A personal highlight was hearing Samson play all three songs about Virtute the cat in a row. Looking up the lyrics of Virtute at Rest, I saw on Samson’s website that the human from those songs is the same person in the song 17th Street Treatment Centre, which makes perfect sense but still blew my mind a little. As an aside, he played that one too. And he also played Aside.

Samson’s set started at 8:15 and in retrospect, when it was done, we should have moved our chairs from the beer garden side of the park to the all-ages side. 8:00pm is the magic hour where the hipsters and families disappear and the people who’ve been drinking at their campsites all day show up. Plus then we’d be nice and close to the main stage but still comfortably on our respective butts. Though I suppose we’d have missed out on some… colourful characters.

When the Gateway Festival released the initial teaser poster for the event, all of the musicians’ names were blacked out but some were done in such a way that you could kinda make a guess at who they were. I was 99% sure one was Kathleen Edwards. This got me hyped and I may have spent several days meticulously poring over the poster like it was the Zapruder film. Mika and I saw Kathleen Edwards at the Exchange many years ago and it was a great great show. Moreover, a few years ago, she essentially retired from music to open up a coffee shop called Quitter’s in Stittsville, Ontario.

If you think I’m going to make a joke about Stittsville, think again. I’m far too mature for that. Plus I live in Regina, so, you know. Plus Kathleen Edwards made all those jokes already.

ANYWAY my point is that while Edwards has done a handful of concerts since her self-imposed retirement, I really didn’t think she’d ever come out this way again. And here she was! This was exciting enough that we actually left our chairs and went down to the main stage. Edwards was in fine form and seemed to be relaxed and really enjoying herself. There was a nice mix of songs spanning her whole career (Sidecars was a personal favourite) and one new one she wrote about turning 40. After Empty Threat, she asked if there were any Americans there since we were less than an hour from the border, which led to a story about opening for Bob Dylan in Montana. She also dedicated the song Hockey Skates to everyone affected by the Humboldt Broncos tragedy earlier this year. Kathleen Edwards is a treasure.

Then we were back to the side stages for Elliott BROOD and as ever, I’ll play along with the spelling once. I should listen to these guys more but I always seem to forget how much I like them. Their energy was especially welcome coming after a series of folkier artists. They’re coming back to Regina in the fall and I was thinking about skipping out since I’ve seen them a few times in the past few years but this was fun enough that I might just reconsider.

Somewhere in here I went to use the bathroom and found that apart from the portapotties, there were also two urinals, of sorts. Big covered tanks with funnels sticking out of them. As they say, when in Rome, pee in a funnel and then go find some hand sanitizer.

Finally, we had the last addition to the festival lineup, recent inductee to the Canadian Music Hall of Fame, and former Barenaked Lady, Steven Page. I’d seen one of his solo shows with Mary a few years ago and really enjoyed it, so when they added him to an already stacked festival, I was stoked. Much like with Samson, there were more Barenaked Ladies songs than Page solo songs, including Jane, Enid, The Old Apartment, Break Your Heart, It’s All Been Done, Alcohol, and I Live With It Every Day. He closed with Brian Wilson, which you had to expect. For solo stuff, he played Surprise Surprise, Manchild, Linda Ronstadt in the 70s, and A New Shore, among others.

There was also a bit where he did some happy strumming on his guitar and Page and the rest of his band took turns singing bits of different popular songs that fit the music. And while I’m sure this is a bit he does often, I suspect the snippet of Virtute the Cat Explains Her Departure that Page sang was specifically because Samson was there. I mean, it’s not a happy song and it didn’t fit the music, but I know Page likes it and had previously recorded it with the Art of Time Ensemble.

Page didn’t play If I Had $1,000,000, much to the frustration of some of the folks around us who were expecting a Barenaked Ladies greatest hits show. I don’t know who wrote what in Barenaked Ladies, but I suspect Page only played stuff that he wrote (or at least co-wrote). Tough break for anyone who was expecting the chimpanzee song. But hey, he still played a lot of hits. Possibly too many for some folks’ tastes – Page was about 20 minutes over his allotted time when it looked like someone notified him it was time to wrap it up. Even then, after Brian Wilson, as we were starting to leave, just as I overheard a festival volunteer say “there hasn’t been an encore all weekend, there won’t be one now,” Page and his band came back out and played Call and Answer. The Badland Country Band was set to go on at midnight and it was nearing 12:30 and a handful of folks were growing impatient. One of the aforementioned colourful characters tried to start a “BADLAND BADLAND” chant but it was as successful as you might expect. “Sorry guys, we’ll be quick,” said Page to the Badlands when he came back out. I’m sure he meant it, but Call and Answer is a six-minute song and I cackled. I dug this whole thing, though to be fair, going over time? Not cool. But I’ll chalk it up to miscommunication somewhere along the way, mostly because we weren’t staying around for the Badland Country Band anyway. As we walked back to the car, we heard them start into a cover of You May Be Right and I’m pretty sure they messed up the words. Timing must have thrown them off.

The drive home was duckless and uneventful, which is exactly how I wanted to wrap up the day.

I should mention that the entire two-day festival was packed with musicians I like and basically consisted of one big SLCR all-star reunion show. I’m not a camping person and Bengough is a long drive from Regina – it would be pretty taxing to take in both nights if you’re going to drive home each night. So we skipped the Friday, since the organizers were kind enough to put all my nice-to-sees on Friday and my must-sees on Saturday. But seriously – Friday night had Big Sugar, Terra Lightfoot, William Prince, Belle Plaine, and Yukon Blonde (along with The Kentucky Headhunters and Chixdiggit, who I’ve never seen before). In Bengough! Population: 337! This whole festival is kind of ridiculous!