Posts Tagged ‘the exchange’

SLCR #307: Hawksley Workman (December 9, 2017)

December 17, 2017

I’ve hit a point in my life where ten days between concerts seems like a long dry spell. And I had five days without an unfinished review nagging at me! It was like I was on vacation, a snowy vacation where I still had to go to work. What am I going to do with myself between now and Winterruption? Write about anything else? Read a book? Develop a hobby? Play one of those video games I keep buying? Unlikely.

So! Hawksley. Haven’t seen this dude in MONTHS. But this is a special show. Last year, he did a small Christmas tour where he played his Christmas album, Almost a Full Moon, front-to-back. The closest he came to me was Winnipeg, and I couldn’t justify a second trip to a Hawksley show in one year. Also, Winnipeg. Gross. Winnipeg winter. Double gross. So I was quite excited to see that Regina was one of the four stops on this year’s holiday tour, along with Saskatoon, Calgary, and Ottawa. Weird itinerary but I’ll take it.

Almost a Full Moon came out 16 years ago which seems impossible to me. I can’t understand how so many years have passed so quickly. Rather than contemplating death’s swift approach, I’ll lie to myself and chalk it up to the album’s re-releases throwing off my sense of time. A year after the first version of Almost a Full Moon came out, it was re-issued with two “new” songs – Watching the Fires (originally on a tour-only CD) and Silent Night. Then, in 2011, to mark the album’s 10th anniversary, Hawksley re-recorded the whole album and called it Full Moon Eleven. I love Hawksley but this is his one album that I just don’t understand or enjoy at all. Most of the songs on the original Full Moon are celebratory and joyous. None of the lyrics were changed for Full Moon Eleven, but all of the music was re-recorded and it’s slow and dour. It works fine for Merry Christmas (I Love You), though it’s not that different from the original version anyway. But for the other songs, it sucks all the fun and life out of them. It’s like someone killed Hawksley’s dog and made him watch, and then made him re-record the album right after. I’m listening to Full Moon Eleven now, as I do seemingly once every Christmas to see if I like it any better, and nope. It doesn’t help that the original is one of my favourite Hawksley albums. The best I can call Eleven is “unnecessary.” A few days before this concert, it suddenly struck me that we might get the Full Moon Eleven versions of the songs and I was concerned. Thankfully, I needn’t have worried.

They promised doors at 7:30 and show at 8:00, and since it was a Regina Folk Festival show, you know that’s likely to be close to correct. We got to the Exchange right at 7:30 and the line was out the door and just about around the corner. We took our place in line and slowly made our way inside. Ahead of us was (I’m guessing) a father and his young son. “Smell that? It smells like popcorn,” said the dad. “Smells like popcorn AND Coke,” said the kid. This made me so happy. I hope he got his snacks. I hope he found the toque that he lost shortly after entering.

Mark asked me to save seats for him and Arlette, and I succeeded expertly by showing up at least one whole minute before they did. Maybe one and a half! This was a seated show, and we grabbed a row of four about two-thirds back, stage right. We got drinks (iced teas and ginger ale! another hard partying Regina Saturday night) and settled in for the show.

Sheila Coles from the CBC emceed the show for the last time before her upcoming retirement. She was really nice to me that one time she interviewed me on live radio about my stolen marshmallow beanbag and how did that ever happen anyway? Life is weird. Anyway, she’s a local fixture and hopefully she has a fun time traveling and whatnot.

There was no opener and Hawksley took the stage right on time. It was just him on guitar and Leith Fleming-Smith on keyboard (and, for two songs, trumpet). I quite enjoy Hawksley’s usual pianist, Mr. Lonely, and am skeptical of any change, but Fleming-Smith did a fine job.

The first half of the show was the original Full Moon album, in order. Meaning that we were kicking the show off with Claire Fontaine, one of my favourite Hawksley songs ever. Like a lot of the songs on this “Christmas” album, it’s not very Christmassy. Mika describes it as “Christmas-adjacent.” It’s a love song to a pad of paper (or its namesake, at least) that happens to very briefly mention Christmas. Basically, Hawksley could have ended after the first song and I’d have gotten my money’s worth.

This is, of course, a lie. I wanted to hear the whole album. But you understand.

For as much as I love Claire Fontaine, it seemed like 3 Generations was the crowd favourite. I suppose it’s the most overtly Christmassy, and sentimental while still being… I dunno, rollicking? That seems like a good word for it. A word Hawksley would appreciate.

I feel like at this show, I saw him do some of the Christmas songs live for the first time, but I’m just not sure. I know I’ve seen him do Claire Fontaine twice before (I looked it up), and he did four other songs when playing with Stuart McLean’s Vinyl Cafe. I know I’ve seen him play A House (Or Maybe a Boat) before, since this was the first time I’ve seen him (correctly) sing “a couple of clementines” instead of “a bottle of clementines.”

On that note, I will say that I’ve never seen a musician who flubs more lines than Hawksley. At least once at every show I’ve seen going back years now. I’ve also read interviews where he talks about how difficult he finds it to remember lyrics, and he never takes requests during shows for that reason. Tonight, he got lost and had to restart both The First Snow of the Year and You and the Candles. It doesn’t bother me; it’s just one of those things that happen at live shows and I like unique moments. I can see where some folks might not be so into it, though I think Hawksley is charismatic enough that he can turn it into a positive.

After playing through the album, there was an intermission wherein Hawksley and Leith did very sweaty one-armed pushups while we all took a break. I visited a bit with some folks – talked a bit with Rob (or was at least present while Mark and Arlette did so – I love chairs but they get in the way of mingling), ran into Mary and Chris, waved at Erin. I also checked out the Stuff Table at Mika’s insistence – I wasn’t going to bother but she’s right, I’d have been real sad if they had something exclusive and I missed out. No luck, though. 7 CDs, two records, and Hawksley’s kids’ book. All stuff I have at home. So instead I got a Diet Pepsi; also something I have at home, but I got all hepped up on consumerism and it was cheap.

Also during intermission, the Exchange played Andy Shauf over the sound system. I mentioned in my recent review of Shauf’s show here that Hawksley was a fan. When he came back out, he said it was intimidating to hear Shauf’s songs right before having to play. He even mentioned that growing up, his musical idol was Bruce Cockburn, and that he struggled with his early songwriting because, in essence, if a song wasn’t going to measure up to Cockburn’s, what’s the point? And now Shauf’s music made him feel the same way. Quite the strong endorsement (and very well-received by the hometown crowd).

For the second half – I’m actually thinking there were only five songs. By my recollection, we had Winter Bird, Watching the Fires, You and the Candles, Autumn’s Here, Safe & Sound. Mark, you’re one of only two people who read these things. Am I wrong?

I mean, there was a lot more than that, but I’m talking songs here. Hawksley spent a lot of time telling stories, as ever. I think it was in the first half of the evening where he told the story of him and his brother spending time with their grandma as kids – I’ve heard that one probably 10 times now but it’s delightful every time, and there are always new little flourishes. This time, there were more details about Eaton’s. And Hawksley’s dad’s butter knife.

In the second half, though, he told us about writing Watching the Fires and how it was the first song he wrote where he was satisfied with the result and thought that maybe this career in music might be possible after all (and how the song later got shoehorned onto one of the Full Moon re-releases and it didn’t feel like it really fit). He said that “not every song can be great, some of them are-” and here he played the theme from The Greatest American Hero and I may have laughed way too loudly upon realizing what it was.

He also talked about HGTV for what had to be a solid 20 minutes. Dude has spent some serious time thinking about House Hunters International. Beautiful people with unloved entranceways and Arborite countertops.

Near the end of the evening, he said that he and Leith needed to go to bed and someone laughed way too loudly at what barely passed as unintentional innuendo. This led to Hawksley saying “yes, sleeping IS funny” and launching into a new song that was about – and one assumes was called – Farty Sleeper, though it was also about Grandpa’s riding mower. I don’t know if he was making it up on the spot, but he did promise that he’d never record it. We could listen to it as much as we wanted on the “Spotify of your mind.” Then he played a second new song – again, I’m guessing on the title here, but let’s go with Spotify of Your Mind. It’s about the song Farty Sleeper.

Mika made me guess what the encore would be and I wasn’t at all confident in my pick of Safe & Sound but I nailed it. This is another of my all-time favourite Hawksley songs and was a great version of it. A few lines in, and Hawksley asked the crowd to sing along. For parts, Hawksley dropped out to let the audience be heard. It was a really nice moment. It’s a mellower song so it was almost more like a choir than what you’d hear at a rock concert. Quiet, too. I sang along but you could hear individual voices really clearly so I mostly kept it under my breath. Nobody needs that. There was also a great keyboard solo in the middle of the song, giving Leith his best chance of the evening to show off.

And that was it. Had a great night, as I always do at Hawksley’s shows. The crowd helped a lot. Not just the singing; after a few shows that I’ll generously call under-attended, this one was sold out and people were into everything. Hawksley seemed appreciative and said he needed to come back more than once every few years. That sounds like the kind of thing he’d say to every crowd at every show but I’m willing to let myself believe the lie.

UPCOMING CONCERTS:
• Tom Wilson w/Mariel Buckley and Belle Plaine (January 19)
• Mo Kenney w/Lindi Ortega and Megan Nash (January 20)
• The Dears (March 17)
• “Weird Al” Yankovic w/Emo Philips (June 1)

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SLCR #306: Michael Bernard Fitzgerald (November 29, 2017)

December 5, 2017

“Two days! Just two days until @ilovembf is back in the Exchange.” tweeted the Exchange.

This was on Monday. And I was sure they were mistaken. I’d planned all week to go see Michael Bernard Fitzgerald on Thursday night. I was about to point out their error when a tiny voice buried in the back of my brain pointed out that maybe… just maybe… *I* was wrong?!

Sure enough, Fitzgerald was here on Wednesday, not Thursday. I even wrote down Wednesday in the text file I use to organize my life (if only this phone had a calendar app), but for some reason, I was convinced the show was on Thursday. Never one to wisely hide my foolishness, I thanked the Exchange for saving me from a sad Thursday evening discovery. They replied, “Glad we did! Especially since Thursday is Austrian metal band Belphegor, so pretty different than MBF unless he’s really changed directions.”

In fairness, I’d pay to see MBF play Austrian metal at least once.

Anyway, for a dirt cheap $10 ticket, I somehow found myself at the Exchange on the correct night. Mika was in school so I was flying solo again. I prepared myself for a raucous evening of misbehaviour by grabbing a raspberry iced tea – the kind with real sugar and everything (on a Wednesday?!) – and went to find myself a chair. As luck would have it, I again ran into Rob and his wife, who once again let me crash their night out. They were joined by Carver and Rob actually properly introduced us to each other, ending a years-long running joke I had with myself. (I’m lots of fun.)

Regina’s own Danny Olliver was added as an opener earlier in the day. The last time I saw him was also in an opening spot for Fitzgerald, who produced Olliver’s albums. He played a short set of singer-songwriter type stuff – kind of on the folkier side – while showing off some impressive guitar work. Not much different than the last time I saw him, but I liked that time and enjoyed this round too.

Though really, if this set is to be remembered for anything, it’ll be salmon. Olliver took audience questions – because that always goes well – and someone asked him what his favourite food was. He said salmon and was immediately cut off by a girl at a nearby table not-quietly-enough exclaiming “oh God, I love salmon too.” They then tried to have a back-and-forth about salmon but the table quickly resumed talking amongst itself (about salmon) and the show went on.

At least salmon table was invested. Somewhat. It was not a particularly lively or enthusiastic crowd all night. When Olliver said “Are you ready for Michael Bernard Fitzgerald,” you could hear crickets. The crowd was a little bigger than for Nomadic Massive, but there, it seemed like people collectively decided “there aren’t many people here, we need to make up for it in enthusiasm.” There was no such thought at this show. MBF later said “you do not seem like a crowd that is interested in answering questions.”

The two openers both complemented Fitzgerald well. In Olliver, you could hear traces of MBF’s folkier side, and the second opener, The Middle Coast, were stylistically a lot closer to Fitzgerald’s more upbeat songs. I’d call them a three-piece from Winnipeg, but there was a pillar blocking the far right hand side of the stage for me, so I’ll just assume that the two people I could see were actually talking to someone else. Could have been twenty people behind that pillar. Or maybe they’re a duo and a robot or a tape deck or a ghost? However it shakes out, all three (?) took turns on lead vocals, and they did their best to bring up the energy level of a room that wasn’t real into cooperating. I liked these folks and would see them again. They earned bonus points for talking up local favourite eateries (even if their pronunciation gave their out-of-towner status away) and for disparaging their own album cover, a shot of the three of them making dinner (it was curry!) taken by someone who, I can only assume, was squatting atop the fridge. Sounds both dangerous and unsanitary, if you ask me.

One brief break and mere moments later, the Middle Coast returned, serving as MBF’s band – now with a keyboard player who could possibly have been there all along (see above, re: pillar). They all did a fine job in this role and, not being a musician, I’m always a little amazed at that sort of thing. Sure, we’ll learn an entire set of your tunes and play them flawlessly for a three-week tour – never before and never again. I mean, I know they’re not super musically complex songs or anything but that still seems daunting to me. But the only instrument I can play is one loud piercing note on a tin whistle that I use to scare the cat sometimes.

We were promised some new songs and we got them! Always a treat to hear new stuff from a favourite singer. We were not promised any old songs, so no promise was broken – I’m not sure he played anything that came out before his 2015 album Yes. (Okay some of those songs were on an earlier EP but that detracts from my point so shut it.) Luckily, I like his two newest albums – though the older tunes would have been welcome too.

I didn’t take notes but the more energetic songs included I Wanna Make it With You, This Isn’t It, and Last Train to Georgia, which was probably the standout to me. It’s never been in my favourites of his but I got a new appreciation for it on this night. The folkier songs included Follow, One Love, Love is an Easy Thing to Miss, and I think he played Reach You? Maybe? I’ve been listening to all my MBF songs on shuffle while writing this and may have confused myself. I feel like he did play Reach You and it was the only song from before Yes but who can tell now? Rob or Carver, maybe. I wonder if they’re available at 12:15am for factchecking.

I didn’t list a ton of songs up there, and it was a short set, clocking in at just around an hour. Fitzgerald never seems to play for too long, at least when I see him. I’d have happily listened a bit longer, but I do appreciate someone doesn’t leave ’em wanting less, and I can’t imagine the crowd was particularly inspiring. At one point, MBF addressed a couple who’d just gotten engaged and said that they were going to be at the show – no response. Then he talked about someone’s girlfriend’s birthday – also no response. Then he vowed to quit paying attention to things people say to him on Facebook. Not a crowd that’s interested in answering questions, indeed. At least he got a good laugh whenever he mentioned salmon.

For the record, I did not spend my Thursday night with Austrian metal band Belphegor. Instead, after work, I went to Costco. Much more expensive. Harder to navigate through the crowds. Worse parking. To be fair, Belphegor probably doesn’t sell iTunes cards at 20% off, but it would be unfair to ask them to.

SLCR #303: Andy Shauf (November 18, 2017)

November 28, 2017

Until this show, I liked Andy Shauf, but I never really got Andy Shauf.

For those who don’t know the name, he’s a singer-songwriter from here in Regina. The first time we saw him was in 2013, when he opened for Mo Kenney at a half-full Artful Dodger. By that point, he was already well known around these parts. We later saw him at the 2015 Regina Folk Festival and then again opening for Whitehorse in 2016. In all cases, I thought he was good and very likable and I wanted him to do well, but there was always something that didn’t quite work for me – he’s real quiet, and I sometimes found him hard to hear and that everything kinda sounded the same. He’s one of many people where I thought I could really get into him if only I spent some time with his albums, but we all know I’ll talk about that but likely never do it.

I did think he was best suited to small, intimate venues. This time, he was headlining at the Exchange, which seemed to be the ideal place. That it was a sold-out hometown show could only help.

I suspect this will be the last time we can see Shauf at a place this small. Even now, I’m guessing he only played the Exchange because he used to work there. They said he was the only person ever to serve as caretaker and also headline a show there. This was the second last stop on his tour; the only remaining date was in Toronto’s Massey Hall. When I looked, you could only buy single seats for that one.

Watching his rise has really been something. When Hawksley Workman discovered Shauf and praised him, I wasn’t that surprised. But to see Reggie Watts do the same thing, it really illustrated how far Shauf was going.

Several days before they show, they announced that Steph Cameron would be opening. This was a delightful surprise. We saw her at the very same 2015 Regina Folk Festival. As opposed to all the other Regina Folk Festivals that year. I really liked her short set and later bought her album, Sad-Eyed Lonesome Lady. She was back in Regina only a few weeks ago, opening for Little Miss Higgins, but we were already booked that night, so this was a treat.

Doors opened at 8:00, which really isn’t that late, but it feels like it is if you’re used to the early-starting concerts the Folk Festival puts on. We got in at around 8:30 and had lots of time to stand around and critique the fashion choices of today’s youth. Tye Dillinger’s haircut was a standout, as was a jacket that read SAME SHIT, DIFFERENT DAY in large letters on the back. One girl was there in short shorts; I question her wisdom but admire her commitment when it’s -20 with the windchill.

Someone from the Board of Directors for the Exchange welcomed us to the show, since this was one of a series of concerts marking their 30th anniversary. She seemed nervous. Didn’t need to be. She did fine!

Cameron started around 9:00 and played for about a half-hour, mostly material from her brand new album, Daybreak Over Jackson Street, about her time living in one of Vancouver’s worst neighbourhoods. I didn’t even know she had a new album, so that was another nice surprise. Or maybe a continuation of the first one. She did a fine job despite a crowd that left something to be desired. Even the folks at the very front were talking and looking at their phones. By now, I should just have a boilerplate paragraph that covers this. You know the deal. If you’re going to do that, why don’t you just leave? Or not show up in the first place? There are lots of places that won’t charge you $25/person cover to stand around and be a dick. But standing dicks notwithstanding, she was real good. Last time I saw her, my verdict was “would see again” and that hasn’t changed. Even if she didn’t play the one song Mika knew.

Speaking of standing dicks, we had about 45 minutes of standing around time before Shauf and band took the stage. I won’t lie to you; I was ready to leave well before this point. The standing, the inattentive crowd, the heat of a packed, sold-out venue, and the fact that I’d never been super into Shauf before were all combining to kill my enthusiasm for the evening, such as it was.

Armed with a full band – including TWO clarinetists, as one does – Shauf returned to his hometown if not quite a conquering hero, at least well on his way. And this was where it all came together for me. Great sound in the venue combined with a crowd that was surprisingly quiet and respectful to create the perfect atmosphere to listen to Shauf’s lyrics. Hometown Hero and Wendell Walker became new favourites for me, but I enjoyed all of it.

Shauf’s stage presence is quite reserved. He’s not someone who will ever put on shows described as electrifying – they’re for listening, not for dancing. Throughout this review, I kept looking for the right place to put the term “low-key” since it kind of applies everywhere. But he does display a subtle sense of humour when talking to the crowd which breaks things up a little. Every time I’ve seen him, he’s asked the audience if they have any questions. This time, it was something about Star Trek. I liked it better last time when someone yelled “what do you have against horses?”

But that was the only part of the show that wasn’t quite as good as before. It’s telling that I liked the show at all, given the mood I was in before it began, but this was fantastic. It took me a while – I’m late to the party, perhaps – but I’m finally on the Andy Shauf bandwagon. Better get on now, before he takes over the world so quietly that nobody even notices.

SLCR #301: Nomadic Massive (November 10, 2017)

November 20, 2017

This was a delightful surprise. Years ago, we saw Nomadic Massive at the Regina Folk Festival. I knew nothing at all about them but they wound up stealing the show that night and you could make a solid case that they were the best of that year’s whole festival. That was in 2013; as far as I know, this show was their first time back here. I didn’t rush to get tickets – lots of concerts and lots of expenses left me thinking that I’d wait and see how I felt on the day. However, fate had other plans. The Prairie Dog had a pair of tickets to give away in a Facebook contest. They asked for comments on their post, so I posted “This is a comment.” A day later, they PM’d me to let me know I’d won. I looked back at the contest, and saw that I was the only entrant. So thank you to Prairie Dog, and thank you especially to the Facebook algorithm that decided that I was the only person who needed to see that post.

When the day came, I really didn’t feel like going. It’s cold and icy here, and I was sleepy even though I’d had the day off and didn’t do anything more strenuous than grocery shopping and getting a flu shot. As I dozed in front of the TV, I could easily have been talked out of going. But off we went.

We got to the Exchange and once seated, I got us some drinks, popcorn, and 50/50 tickets (didn’t win). May as well contribute a little since we got in for free. The popcorn was tasty but I question its proclaimed status as the world’s best.

The band hit the stage noting that though the crowd was small, we’d get rowdy. There were, unfortunately, not a ton of people there. Maybe 50 when the show started and not quite 100 at the peak, if I’m guessing. It’s a real shame; if people don’t come out, the bands won’t come back (said the guy who didn’t pay to be there). That said, it did seem like the people who were there were determined to make up the difference, with lots of people leaving their seats to go dance at the front of the stage. Some good participation – crowds at Folk Festival-promoted shows (or just shows here in general) sometimes tend to be on the reserved side.

Nomadic Massive bring high-energy rap out of Montréal in multiple languages. You should check that out if it sounds like your thing. Or maybe even if it doesn’t? I mean, that’s not something I listen to much, but I possibly should, since this was fantastic.

I’m not very familiar with Nomadic Massive so if you want to know what they played, I’m not your guy. I recognized one song and it wasn’t even their own – there was a bit of The Choice is Yours by Black Sheep (which I very much appreciated – that album was one of my Grade 10 favourites). They also did part of Alright by Kendrick Lamar but I wouldn’t even have picked up on that if Mika hadn’t told me. You don’t read these for informed opinions.

I’ll keep this one short since I have a big ol’ review backlog again and because I don’t know a thing about things anyway, but this was one of the best shows I’ve seen this year. Mika went one better, naming it her favourite this year. On the drive home, we talked about how neither of us really felt like spending the night out, but we both had a great time and were feeling energized when it was done. Apparently it was just what we needed.

I note, with some amusement, that my Apple Watch didn’t consider the half-hour I spent shoveling snow earlier in the day to be exercise. It did, however, give me credit for butt-dancing in my chair at this show. This is either a testament to how much I enjoyed myself or the inherent unreliability of fitness trackers. I suppose it can be two things.

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

October 15, 2017

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SLCR #280: Colter Wall (May 8, 2017)

May 23, 2017

I don’t know when I first learned that Colter Wall was a musician. It seemed like it just happened one day and suddenly he was everywhere. It was notable around these parts because Wall is the son of our Premier (the equivalent of a Governor for my American pals). This is the kind of thing that probably helped him a lot for a while and may be as much of a hindrance these days. When referencing the concert, I heard “great singer, shame about his dad” more than once.

But whatever. When your dad’s the Premier, that probably opens some doors in Saskatchewan. That doesn’t get you onto Rolling Stone’s list of 10 New Country Artists You Need to Know. It doesn’t get you a touring gig opening for Steve Earle. It doesn’t get Stone Cold Steve Austin and Brock Lesnar discussing how much they love your music on an episode of Austin’s podcast… okay, it probably DOES get you that since Brock lives here now and has met the Premier. But still. That other stuff.

I saw Colter at the folk festival a few years ago. At the time, he wasn’t big enough to merit a main stage spot, playing only a few songs as a teaser between headline acts. If I’m being honest, I thought he seemed a little nervous and I didn’t think that he came across that well. He had definite potential but wasn’t there yet. Since then came all that stuff I listed above. And I listened to his debut EP, Imaginary Appalachia, and it was really good. Dude won me over. This show was the launch party for his (self-titled) first full-length album and I was looking forward to seeing him live again.

On the weekend before the show, Mika fell ill with a cold. “Tell me if you don’t feel like going to Colter Wall and I’ll see if someone else wants to go,” I said on Sunday afternoon. “I’m not going to Colter Wall,” she said at 3:30 am Monday. I appreciated the advance notice, and we were both awake anyway, but it probably could have waited until morning. Anyway, she spent the day home sick and I went to work with a mission to find someone to take this extra ticket off my hands.

Luckily, Jason, a friend from an ungodly long time ago if I stop to think about it, has a blog. And in said blog, he had recently referenced Colter Wall and mentioned he didn’t have plans to go to the show. I checked with him and to my delight, he was in. It was either doors at 7:00, show at 8:00, or 8:00/9:00 depending on where you looked, so we agreed to meet at the Exchange just before 8:00. He got there a few minutes before I did and saw Colter hanging out with friends outside the venue.

Once inside, we got beers. I don’t know from beer so I went with my old standby, Same For Me. Whatever it was, it was good. We took our beers and made our way into the concert hall. It was a sold-out show with very little seating, so we found ourselves a good standing spot. The crowd was an interesting mix of country fans, hipsters, and Sask Party MLAs (and someone who we were pretty sure was Colter’s dad in a leather jacket) – if I ever hung out with people, I’d say this was “not my usual crowd.” I may also have compared it to being on the bridge of the ship in Spaceballs but I said I’d leave my politics out of this.

The opener was John Clay, who played a short acoustic set before returning later in the evening as Wall’s drummer. He played a mix of originals and covers that I didn’t know, encouraging us to check out music by his influences; in particular, the only album ever released by Willis Alan Ramsey. This suffered from the usual curse of nobody paying attention to the opener, but those of us who did got some good tunes. And though he was mostly pretty low-key, there was one point where he really showed off his voice and that got everyone’s attention. Fine stuff.

Wall, on the other hand, isn’t one for vocal showmanship. He has a deep bass baritone that suits his songs well. Not a huge range but he can bring the intensity when required. He was playing with a small band and showed no trace of the nervousness I had seen (or imagined) before. He was calm and confident and came across like a seasoned veteran.

As you’d expect, he played most of the songs from his new album and his EP, which, together, are about long enough to fill out a set. I don’t know how new the new material is – whether this was the first time he played it live here or if it was already familiar to much of the crowd. Everything got a really good reaction but the best was saved for two favourites from the EP – The Devil Wears a Suit and Tie and the last song of the encore, Sleeping on the Blacktop.

It’s hard to reconcile some of Wall’s songs with his upbringing. This likely isn’t an issue for anyone who doesn’t live here and shouldn’t be an issue for me. I mean, I don’t know anything about the guy personally and I know that songwriters don’t have to be autobiographical. But you get to songs like “You Look to Yours” with the line “don’t trust no politicians” and I get distracted, you know? But that shouldn’t matter if the songs are good, and these are, so never mind me.

I feel like I’ve been nitpicky here but this was a really good show. Packed house, hometown (well, homeprovince) crowd, great music. Would go again. Jason made this point but I’ll reiterate it – from all the buzz and the success Wall’s having, this could be the last time we’ll get to see him in a venue this small. And though he’s apparently living in the States now, I suspect he won’t be skipping past Regina on future tours even if he makes it big. So, you know, I’ll gladly take advantage of his connections when they benefit me.

UPCOMING CONCERTS:
• Bryan Adams w/Our Lady Peace and Johnny Reid (May 27)
• Son of Dave (June 24)
• Serena Ryder (June 25)
• kd lang (August 26)
• Guns N’ Roses (August 27)
• The New Pornographers w/Born Ruffians (October 6)
• Martha Wainwright (October 22)

SLCR #269: Winterruption 2017 (January 19-21, 2017)

February 7, 2017

Hola, amigos. How’s it hangin’? I know it’s been a long time since I rapped at ya. Before this, my last concert was Bif Naked, on the night of the US election. From there, I took a break until January 19, aka the day before Inauguration Day. This was coincidental though I don’t blame anyone for thinking I had sworn off my music-loving ways and runnoft to live in a cabin in the woods with a shotgun and some water purification tablets.

I mean, last time out I said “I will hope against all logic and reason that the next four years are mostly okay and not the racist, misogynist, transphobic, anti-immigrant pants-shittingly reckless dumpster fire that this campaign and Trump’s entire life would lead one to expect.” To which I now say hahahahahahahaha naive idiot, you had hope, you’re dumb. Hope is dumb.

But whatever. When last we talked – and for all of last year, really – I talked about trying to see 40 concerts in my 40th year. That year is over and my final concert tally for the year is… 39. So it goes. I had lots of opportunities to get to 40 – and probably 52 without much more effort – but by the end of the year, I was finding myself kinda broke and all concerted out. So I’m 39 and holding, I guess. I’ll take that. The break was appreciated, but I am back with an all-new slate of upcoming shows and we’ll keep this thing going for the foreseeable future.

To make up for my two-month absence, I am combining an entire weekend worth of shows (by which I mean “two”) into one review. Why? To give you the supersize concert review experience that you’ve been missing, and because there are only so many times and ways I can pad out “they were good.”

Winterruption is a new annual concert series put on by the Regina Folk Festival and the Broadway Theatre in Saskatoon. This is only its second year; you may recall that last year Mika and I saw Whitehorse with Andy Shauf and Emily Wells opening in what was a fantastic show at Darke Hall. It was a little bigger event this year, which unfortunately led to us having to make the hard choices, but it would have been even harder were we in Saskatoon. For the most part, the Regina and Saskatoon Winterruptions share acts, but Saskatoon is a bigger city and has more venues so Regina missed out on concerts by TUNS and Holy Fuck, as well as the Canadaland podcast taping, among other events. But even with the lesser lineup, Regina had three nights of shows spanning multiple venues. And you surely want to know everything we saw and what I thought of it all, right? You’re not just bored at work, skimming this because it looks enough like email to fool anyone who’s checking out your screen, right?

THURSDAY: Elliott BROOD with IsKwé and Begonia

The first hard choice I made was to not go to anything on the Thursday night. We saw Elliott Brood last year (and like last year, you only get all-caps once), and while they were good, I’m trying to cut back on my concert expenses a bit. Plus I never know how much I’ll feel like leaving the house in the middle of January. But I did really like them last time out, so I decided to leave it to the whims of fate; namely, I entered a few Facebook and Twitter like/share/retweet contests for tickets. And fate (and Prairie Dog magazine) really wanted me to see this show, I guess. Mika had schoolwork to do and/or recover from and wasn’t up to going, so I checked with a few of my usuals, but everyone else had plans (such as “not being interested”) so I wound up going alone. Not the first time, won’t be the last. The Exchange is a good place for weird loners. I bought myself a Diet Pepsi and found a table near the back with an excellent view.

The opener was IsKwé, who we saw at last year’s folk festival. From Winnipeg and of Cree/Dene descent, IsKwé and her band played hip-hop-influenced pop touching on a number of indiginious issues. The smaller, more intimate setting was a much better fit than the outdoor folk festival stage, and the videos projected on screen behind them added weight to their message.

By comparison, the next act joked about how IsKwé was singing about powerful issues while she was singing about a hot dog stand. This was Begonia, the solo project of Alexa Dirks from Chic Gamine. This was much more straightforward pop and I thought it was fine, though nothing really stood out to me (though I thought the hot dog stand song was delightful). More than anything, I thought Dirks seemed like a really likeable person, and not just because she made the first Experience Regina reference of the new SLCR year.

Finally, we got to Elliott Brood. They started things off a lot slower-paced than last year, opening with some quieter songs. They repeatedly brought up the political situation in the US and it seemed like everything really had taken the wind out of their sails a bit. Can’t blame them. That said, I also think they recognized this and played Oh Alberta pretty early on, as that always gets things going. I’m still not super familiar with too many of their songs, so I couldn’t tell you a ton of what they played, though I do know they played a song from their upcoming new album and… it didn’t go well. They tried, bless ’em, but they weren’t on the same page and joked about it for the rest of the night, which more than made up for the song itself. Plus they led everyone in singing happy birthday to IsKwé, and the dancing little kid Elliott Brood superfan was back from last year. All in all, it was a fun show, if a half-step off from the year before.

The show didn’t seem like it sold out – there was tons of open space for IsKwé, and though it did fill up as the night went on, it also seemed like lots of people were leaving early. Still a work night, I guess.

FRIDAY: Grownups Read Things They Wrote As Kids podcast taping

This was another one of the hard choices, as the Grownups recording at the Artesian was up against the Said The Whale / Northcote / The Garrys triple bill at the Exchange. And I really enjoy me some Northcote and at least one Said The Whale song, but Grownups is one of our favourite podcasts and we couldn’t pass it up.

I’d describe Grownups Read Things They Wrote As Kids except I just did. It started as a CBC summer replacement series a few years ago, and I didn’t think I’d enjoy it; I was expecting cringe humour which is not my favourite. But it’s not that at all – aside from the fact that not all of the readers bring funny pieces to the show, the audience is very supportive and everyone’s sharing the experience of looking back in time at who you once were.

To that end, a few weeks after we bought our tickets, they were still looking for readers, and I had been graced with a box of stuff from my mom’s basement when she moved, so I bit the bullet and signed up to read. I went through my pile of stuff and settled on a choose-your-own-adventure space epic entitled Misson [sic]: Ring Rescue. The backstory is that a girl in my Grade 6 class wrote a long story and got a lot of praise from the teacher. I like praise too, so I decided I’d write a long story as well, but I also liked not putting any effort into things, so I used the choose-your-own-adventure format to camouflage the lack of actual content. This fooled nobody. To put it in perspective, I wrote an eight-page story, but when I typed it up for ease of reading on stage, it fit onto one sheet of paper with room for me to add comments and to enlarge the font.

I won’t give a detailed review of the whole show. Comedy is best if it’s not wrecked for you, after all. But I will say that I was pleased with how my reading went but I don’t know if I’ll make it onto the podcast. This was my third time seeing a Grownups live show and it was easily the best of the bunch. Seventeen readers and not a dud among them. Paring down those 90-ish minutes to a 30-minute podcast will mean a lot of good stuff hits the floor.

Luckily for you, you can watch all of it: https://youtu.be/Y5oI-d1rCMs

I start at 37:21 but the whole thing is worth it. Bear in mind that I haven’t actually watched the video and I likely never will (my own human voice, how horrific), so I hope you enjoy and I hope I didn’t suck.

SATURDAY: Danny Michel with Mohsin Zaman and William Prince

This was either the Danny Michel show or the William Prince show, depending on if you were talking to me or Mika. I’ve been a fan of Michel for a long time now, whereas we saw Prince for the first time last fall when he won Aboriginal Artist of the Year at BreakOutWest, and she knew some of his songs from CBC Radio.

All of which leaves out poor Mohsin Zaman, but hey, he was new to both of us. Zaman is of Pakistani heritage but comes from Dubai by way of the only slightly less exotic Edmonton. He shared his life story while talking about giving up a banking career for a much riskier life as a musician. The choice is starting to pay off, as he was named the 2016 Male Artist of the Year in the Edmonton Music Awards. The set was just Zaman and his guitar, playing mostly his original tunes, though there were two covers thrown into the mix as well – Springsteen’s I’m On Fire (which is kind of actually a really creepy song if you think about it) and, yes, Aaron’s favourite cover song ever, Cohen’s Hallelujah. Both of the covers were different enough from the original versions to be interesting and Zaman is an excellent guitarist, but all in all, this was reminiscent of Begonia, where I left thinking Zaman seemed like a good guy more than being really into the music.

Like with Grownups, the Artesian was again sold out for this show, and between sets, they asked to find seats for a few people who didn’t have them yet. Which is fine, I get that. If it’s a seated show and you bought a ticket, you deserve a seat. (On a related note, ask me sometime why I will never buy a ticket for a show at the Artful Dodger again, and indeed, why you couldn’t pay me to go there! It’ll be fun, I’ll swear a lot.) That said, they were asking people who were already seated to scrunch in together to make room, and… no? You don’t inconvenience the people who bother to show up on time to accommodate the latecomers. But maybe I’m just irritated because we watched the artistic director of the folk festival ask some people to move over, and it’s like, I’m a big guy. I sit on an aisle seat for a reason. And I bet this dude did too. And then after he did shove down, the lady who showed up late sulked and sighed because she wasn’t sitting with her husband. You want to sit with your husband? Show up on time for the sold-out show.

Now, if you want complaints (and who doesn’t, they’re super fun to read and also completely relevant to everyone and never tiresome at all), William Prince was a dude who had some complaints. He was not having a great day when we saw him, having spent the week touring Saskatchewan schools and consequently being infected with a cold from our germy, germy children. He apologized for this repeatedly; Mika said it was obvious he had a cold, but to be honest, I don’t know if I’d have ever caught on if he hadn’t said anything. He was also struggling for a while with getting the sound he wanted through his monitor, which wasn’t helping his mood any. Despite all this, I thought his set was really good. Again, this was just him and a guitar (at one point, he made mention of a part where he’d play harmonica if only he’d remembered to put it around his neck before the song began), playing all originals. In particular, I’ve had the song Breathless stuck in my head for two weeks plus. Highly recommended if you like roots/folk singer/songwriter stuff. Would see again, and we’ll likely get the chance – he wink-wink hinted that he’ll be back in town for the folk festival this summer.

Last up was Danny Michel, who was promoting his new album Khlebnikov (recorded on a Russian icebreaker with an astronaut), which came out the day before. For what was essentially an album-release party, you’d expect a bunch of new songs, but no, he only played the title track. Beyond that, it was a lot like the last time we saw him, only we had seats and most of the people in attendance were less obnoxious. He played the one token old song (Whale of a Tale) and lots of stuff from more recent albums (Feather Fur & Fin, What Colour Are You, Click Click, Who’s Gonna Miss You When You’re Gone). He told a few stories I’d heard before (regarding Wish Willy and Samantha in the Sky with Diamonds) and even played an Elvis cover I’d heard him do before. That said, it might have been the familiarity with the material that boosted his confidence; it was one of the better Michel shows I’d seen and he was a lot more charismatic on stage than I’d seen before. He usually seems a little reserved but not on this night.

I said that most fans were less obnoxious but I am not counting the dude standing right next to me who let out a monster belch so loud that it brought the show to a halt right before the encore. I mean, don’t get me wrong, I’m a little impressed, but c’mon. Or maybe we should own it? Make that part of our new tourism campaign, perhaps. William Prince and Danny Michel got to experience Regina and one got infected and the other got burped at. Who knows what delights will await you?

UPCOMING CONCERTS

  • Big Wreck w/Ascot Royals (February 9)
  • Lyle Lovett and John Hiatt (March 1)
  • Blackie & the Rodeo Kings (March 8)
  • The Tea Party (March 18)
  • Bill & Joel Plaskett w/Mayhemingways (March 23)
  • Lisa LeBlanc (March 30)
  • I Love The 90s feat. Salt N Pepa, Vanilla Ice, Color Me Badd, Young MC, and Rob Base (April 1)
  • The Last Waltz Remembered feat. Corb Lund, Matt Andersen, Amy Helm, & the Russell Broom House Band (April 5)
  • Martha Wainwright (April 20)
  • BA Johnston w/Napalmpom (April 28)
  • Guns N’ Roses (August 27)

SLCR #268: Bif Naked (November 8, 2016)

November 14, 2016

When I bought the ticket for this show, I didn’t realize that it was on the same day as the US Presidential election. I was well aware of both dates for some time, but somehow it took until the day before for me to piece together that the election’s November 8, 2016 and the concert’s November 8, 2016 were, in fact, the same day. I had already decided not to watch election results, so I was thankful to have the distraction.

Needless to say, I spent much of the show on my phone. I also thought the show itself was only okay, but it’s pretty hard to tell how much of that was the show and how much of that was my worsening mood as the night progressed. I had big plans of coming home and writing the review right away while it was fresh in my mind, but instead we watched the news and said a bunch of things about our southern neighbours that didn’t make us feel any better.

You don’t read these for my political opinions (one wonders why you read them at all) so I will just say that I will hope against all logic and reason that the next four years are mostly okay and not the racist, misogynist, transphobic, anti-immigrant pants-shittingly reckless dumpster fire that this campaign and Trump’s entire life would lead one to expect.

We had a trip to Nashville planned for this coming August, but we haven’t booked anything yet and we’ll be re-evaluating this choice in a few months. If you caught me on election night, I was a hard “no,” but… total solar eclipse? On my birthday? That I’ve been anticipating for seriously like 30 years? I’d be really disappointed to miss it. But I also recognize that “having to vacation somewhere else” is a pretty petty concern when I think of what this election could mean for a lot of people.

Also, to any American readers, yes, we have a guest room, but Mika says that I’m only allowed to offer it to my gay and/or brown friends. My straight white American friends have to stay behind and fix shit. I don’t have a firm answer as to whether she’s also offering guest room amnesty to my American Jewish friends, and I don’t think she’d appreciate me waking her up to fact-check this.

I like how “I will just say” was followed by three paragraphs.

So! Bif Naked. I became a fan through Kristin, but that was a long time ago. I’ve seen her twice, back in 2000 and 2001. Pat was at the 2000 show and told me all about how he wanted to go to Fiji. I remember that conversation (Boolah! Ramram!) but forgot that show ever happened. I did remember seeing Bif with Kristin in 2001, only I thought it was in Winnipeg. Nope. And hey, Static in Stereo and LiveOnRelease opened? I’ve seen them? I’m pretty sure you could sneak anything you want into my Word document of old concert reviews and Future James will believe it. Maybe you already did.

Anyway, over time my tastes shifted, I became less interested with each successive album, and eventually just quit following her career. It happens. This show was probably going to be the first time I’d even heard Bif’s music in a decade, and I was really interested to see how I felt about it. Plus, she wrote a book, and this was basically her book tour. The show was going to be acoustic songs interspersed with stories and readings, so it was guaranteed to be different than her other shows I’d seen.

The tickets said “doors at 8:00,” which is later than most shows at the Exchange, so I was skeptical. I drove up around 7:55 and sure enough, there was a line from the door down to the street and partway down the block. I was already expecting to stand in the back, off to one side, so I didn’t think there was much reason to join the horde. I parked, sat there for 15 minutes playing games on my phone, and eventually wandered over – only to find that the line hadn’t really moved. But whatever, by then I was committed, so I waited for another 10 minutes or so until I got inside.

Once in the building, I was surprised to see the floor full of chairs. I suppose it made sense for an acoustic show. I was even more surprised to see how many chairs were empty, considering the show was sold out and the people ahead of me in line were only able to buy their way in because not all the tickets set aside for comps wound up getting used. I don’t know if there were a lot of people who stayed home to watch election results or if the Exchange just set out every chair they own. Whatever it was, I had a good view and enough space to stretch out.

The opener was Jordan Alexander, who met Bif while working at a bookstore in Toronto. She played mostly her own songs on guitar, with a little sampler keyboard deal (I couldn’t really see it) for playing backing tracks. She also threw in a few covers, including Teenage Dirtbag by Wheatus, saying that we probably hadn’t heard her songs yet (true) since her album just came out, and she figured we’d like to hear something we knew. This was all fine, though the best moment was a happy accident. She was playing a song that she wrote for her best friend, and she stopped about a minute in, thinking she was playing it in the wrong key (which I don’t think she was, but like I’d know). After fiddling with the sampler machine for a second, she gave up on it and decided to play the song just on guitar instead. Not only did she handle the situation with a great sense of humour, but it wound up being the best song she played. One guy behind me yelled “now throw it away and never use the backing tracks again” and I would have to concur. I’m sure it’s a nice safety net to have when performing, but she showed she didn’t need it. The crowd wasn’t paying much attention to her at first, but this did a fine job of winning them over. Not that she needed this song’s help – she also came across as the most likable person ever. Would go see again.

A quick break and then we were joined by Bif Naked, who said that tonight we were not going to think about our neighbours to the south. I tried, but y’know. Also on stage was Snake. Snake is Bif’s husband, and not a literal snake (I know, I saw his arms). I’m sure Snake has a real name but then so does “Bif Naked” and real names are unnecessary.

Like I said, this was an acoustic tour, with Bif reading stories from her book and singing songs while Snake played acoustic guitar with his human arms. The stories were really good and I’d be interested in reading this book at some point. Bif’s had quite an eventful existence. The songs were mostly taken from her earlier albums, so largely stuff I knew, and some of her more personal songs. Some of them made the transition to acousticness (?) quite well, like Lucky, Chotee, Spaceman, and Daddy’s Getting Married. Others not so much. Tango Shoes didn’t work for me. And I Love Myself Today felt like it was two people performing two different songs at once. I’m surprised that one didn’t come together when the best version of that song I’ve ever heard was a capella (in front of an audience of two, no less – very intimate house concert).

I don’t really know how I feel about this show. I enjoyed some songs, didn’t care much for others, and I don’t think my tastes have swung back her way – but as I mentioned, by the end of things, my head was no longer in the game. I Love Myself Today was the last song she did, and by that point, the election results were obvious, and it felt almost ridiculous to even be thinking about music right then. There was no encore, and I was fine with that, because I was done at that point anyway.

Certain members of the audience also tried their best to drag the proceedings down. One exceptional fellow – drunk, stupid, or some combination thereof – could not grasp that this was not a normal rock show and also that he was not the star of said show. Bif is reading a passage about finding out she has cancer and going through chemotherapy, and this shitbird jackoff is hollering I LOVE YOU BIF IT’S MY BIRTHDAY TODAY I WANT A BIRTHDAY HUG! Like, dude, shut the fuck up. And later on, she’s talking about being a sixteen-year-old runaway who got rescued from what appeared to be a prostitution ring from a friendly cab driver, and she’s thinking that she’s going to have to perform sexual favours for the cabbie in exchange for his help, and this dude in the crowd is yelling YEAAHHHH! I already said “dude, shut the fuck up,” but seriously. This is not a fun sexy time story at all. And also maybe don’t demand that strangers touch you, especially if you suck and are gross. When I left, the guy was waiting to buy a book, by which I assume I mean “not buy a book but demand a birthday hug” because obviously that was where this was going, and some people who were sitting near him were trying to decide whether or not they should confront him about how he was behaving. I didn’t stick around to see how this played out but I’d be pretty fine with it if they Negan’d his head all over the parking lot.

That is not a nice thought or a nice way to end this. So there’s this: the only thing the cab driver made Bif do is call her mom. Bif later dedicated her first album to him. There are good people. I like them.

SLCR #262: Basia Bulat (October 5, 2016)

October 15, 2016

Well, this should be short. This was one of those evenings where the tunes were good and it was a nice night out but I don’t really have anything to say about it.

I was vaguely aware of Basia Bulat the first time I saw her play, which was nearly ten years ago now. I knew her name, anyway, though not how to pronounce it – I got that wrong for years. Am not particularly confident now. But I digress. Some friends of friends had a show at Amigo’s in Saskatoon, and she opened for them. That seemed a bit weird, given that I had actually heard of her. Seems more weird now.

I remember thinking that her songs were very pleasant and enjoyable. I saw her again at the Regina Folk Festival a few years later (which was now a few years ago, in what has to be some kind of time paradox) and felt much the same. You may note the lack of details or strong opinions here. That’s how it goes sometimes. Sometimes you just say “that was nice” and move on.

But nice is good! I like nice. So when the Folk Festival announced that they were bringing her back for a show this fall, I picked up a ticket. I figured that it might be the kind of show I’d be tempted to skip out on if I didn’t buy in advance. And I was right, since the show took place during the first snowfall of the year. I had to brush snow off the car, scrape the windows, all that nonsense. Staying inside was a tempting offer, but out I went. Toughed it out. For YOU. Mostly for me, but a bit for you.

I got to the Exchange and the place was surprisingly full. I go to lots of half-attended concerts in Regina, and between this and Fred Eaglesmith, you can really see where the Regina Folk Festival’s promotional efforts pay off. The casino does good work too, but I wonder what could be leveraged to get people out to other shows? musicreginalive.ca is great, but you need to proactively check it. There’s a business idea here. One that likely involves a ton of work for very little reward.

Anyway, you don’t care about that. What you care about is that I sat by the wall in the same place that I sat for the previous show. Also I maybe had a Diet Pepsi? Can’t remember. Sounds like a thing I might do. And Other James was there, but he was seated far away and we never crossed paths. He later messaged me to tell me that I missed a great show.

Our openers were Oh Pep!, a duo from Australia. Olivia and Pepita. Here’s what you need to know: Olivia’s least favourite nut is the cashew nut. Her most favourite nut is the Brazil nut. Olivia has ass-backwards taste in nuts, is what I got out of this. But despite that, these folks were pretty charming. They were touring their first album and played a set of classical-influenced pop (note that I don’t really know what constitutes “classical-influenced pop;” they just mentioned studying classical music together in school so sure, let’s go with that). Basically, if you like Basia Bulat, you’ll probably like them. Normally they tour with a full band, but being far from home, it was just the two of them. I enjoyed this and would like to hear what they sound like with some extra musicians. Maybe they’ll come back – their new album was recorded in Canada, and also they seemed really delighted that they got to experience snow.

Conversely, this was my first time hearing Basia Bulat with a backing band. I’m still not hugely familiar with her music – she’s one of those people I only ever seem to listen to when I see her in concert – but I enjoyed the fleshed-out sound. It was a full poppy tunes with a little more energy than I’ve seen from her before. This was all nice. I recognized the last song she played. And that was really about it. I’ll likely go see her again in a few years and I won’t be any better at this.

SLCR #261: Fred Eaglesmith (October 1, 2016)

October 11, 2016

Three behind! Again! For a place I don’t like to be, I sure find myself here often enough. I procrastinate, that’s kind of my thing. And I suppose it’s kind of fitting for this show. Fred Eaglesmith is a dude I’ve been meaning to see for something like 15 years.

I don’t know who first recommended Eaglesmith to me. Probably Jason, aka “Your Librarian Friend” in Mika code. We’ve known each other online for a very long time, and he’s been a Fred fan for far longer than that. I remember Josy hearing Fred songs at the radio station and telling me that I’d like him. Other folks have said so too. And yet, I never made the effort. I heard one song and enjoyed it, though it was so long ago that I don’t really remember it. And it’s not like he’s never come through town; I’ve just been busy, or broke, or something. Always something. So when this show got announced – I’m sure it was six months ago – I picked us up a pair of tickets right away. If I get tickets, we’ll go, right?

Okay, so that doesn’t always happen. Didn’t quite happen here either, as Mika wound up with a ticket to the Rams/Huskies game that was the inaugural event at our fancy-if-not-quite-finished new stadium. It was in the afternoon, so she could have gone to both, but with limited non-school personal time available, she picked the football game. Fair enough. Judging from Facebook, she was there with every person I know. Luckily, Other James was available in the evening and made sure her extra ticket got a good home.

We met at the Exchange shortly before the show was to begin and there was a line out the door. Doors at 7:30 apparently weren’t. Other James was more reserved than usual. He was feeling a little worse for wear after a late night out the night before, followed by a full day of sunshine in the garden. As I’m writing this, I’m watching it snow, as it’s been doing for the better part of the past week. I know this review is late, but it feels this show was a million years ago, weather-wise.

We found our way inside and the place was pretty packed. I don’t think it was a sellout but it couldn’t have been far from it. Other James got us some drinks and we found a nice slab of wall to stand against.

Based on the advertising, I thought Tif Ginn was our opening act. I thought wrong. She did get a few songs by herself after intermission, and they were real good, but for the most part she was playing along with and singing backup for Eaglesmith. They’re also married, which everyone probably already knows, but that was news to me. Though we’ve established that I didn’t know much about what I was getting myself into.

This was a delightful show. As predicted, I really enjoyed Eaglesmith’s songs, but I didn’t know he’d be quite such a showman. So many stories. So many jokes. I clearly should have taken that advice 15 years ago, but maybe it needed to happen now? Eaglesmith laughed about the age of his audience, essentially suggesting that they die off with some regularity, but there are always new people in their 40s discovering his music. “They borrow their dad’s car, put in a CD, and bam, I’ve got them.”

Not that everyone there was 40 and up. There was a wee lad in attendance – he looked to be maybe 3 or so – and he wandered up to the front, hopped right up on stage, and shook hands with Eaglesmith. That was pretty cute. Then he tried to talk to Ginn during her songs, then wandered back on stage when Fred came back out after intermission, and finally requested the song Freight Train. I don’t know from Eaglesmith songs but people seemed to think this was a pretty solid choice. The kid hung out at the front of the stage for a few more songs after Freight Train until Eaglesmith asked that he be given earplugs or taken to the back to protect his hearing. This got some applause that led me to believe that maybe some other people were also thinking that maybe this had become too much of a good thing, and also, where were this kid’s parents anyway? One of them took the kid back to their seats, at which point he began loudly whining about wanting to go back up to the front. It was deemed to be bedtime and home they want. He still outlasted Other James, who pulled the pin at intermission.

After Other James left, Your Librarian Friend and I chatted over Twitter about the concert. I would have gone over and talked with him in person, but I thought intermission would be over more quickly, so I probably just came across as standoffish. Hahaha whoops. Oh well, we got to catch up a bit after the show.

I haven’t talked a ton about the music because like I ever know what to say? It was real good. There. Straightforward country-ish songs that told little stories, with lots of humourous asides and tales of life on the road. Luckily, the sound at the Exchange was excellent, making it easy to hear the lyrics and the everything else.

That still doesn’t say much. And this week I have to write two more reviews for artists I know equally little about, so you might want to just skip past this whole week, really.