Jory Nash - Hugh's Room, Toronto, November 23, 2013

Have been busy and distracted (read: lazy) lately, so I'm several blog posts behind on shows.  And I'm happy to say that this show has inspired me to get caught up in a way that others I've attended have not (yet).  Jory's intense love of what he does tends to wrap you up in gratitude for the existence of quality music as he beams that love out to his audience... and that supremely good feeling of a big musical bear hug makes a girl want to share! (awww, musical love is awesome, isn't it?)  So this post will leapfrog over two others I still haven't tackled yet but will get to shortly.

David Matheson joining Jory for
a little "sounds of the 70s" taste test

We missed Jory's annual show at Hugh's Room last year, which was a damned shame.  But happy to be back we took our reserved seats that were within arms length of the stage.  This was going to be an up close and personal show!  And as a special treat, Jory had a full band with him for this one.  David Celia on guitar (ummm, Hellooooo David Celia, have already grabbed a couple of your albums), Rosalyn Dennett on Violin and banjo, Maury Lafoy on Bass, Mark Mariash on drums and the delightfully entertaining David Matheson on Piano.  It was a great line-up of fantastic musicians and while I always love Jory solo, it was a perfect enhancement to his show.

What can I say about a Jory Nash show that I haven't already said very emphatically here and here?  Well...to reaffirm:  he continues to be real in the best possible sense.  His beautiful rich vocals and lyrics continue to move me to my core.  And he continues to put himself out into the musical universe with raw honesty and as a natural talent fuelled giver.  It's a warm musical experience.  A soul filling comfort.  A Jory Nash show never lets you down.  And there is a "one-ness" with the people attending that is unlike any other show - always a total love-fest with the friendliest of people in the best possible atmosphere.

He had a wonderfully diverse mix of tunes to play for us.  (See set list below).  Some new, some old, some covers, some traditional.  Offset by a full band, tunes like "Helicopters Circling" and "A Kiss for the Great Unknown" were mint!  And as per usual, Jory took to the piano for a couple of tunes.  When I think of Jory Nash the musician, I always picture him with a guitar, however, tunes like "Sally" and "The Nighthawk" made me stop and realize that when it comes to a good piano ballad, his wonderful piano melodies need full recognition!

We were fortunate enough to get a few brand new, yet to be recorded tunes, and as Jory explained, they were inspired by his summer "Torrential" romance (and with his classic good natured but comical straight man delivery, added that whenever you describe something as "Torrential" it is usually after it's over).  Enjoyable set-up to the new tune "When the Knives Come Out" and reminded me of a Joel Plaskett quote "If they do you wrong, get them back every night in song".  (as a related aside Jory, have I got a song idea for you!  It involves a relationship with way too much beer and bacon, a crazy stalker ex, embracing one's inner redneck, and getting dumped by e-mail.  I'm pretty sure it needs to involve a banjo.  We should talk....)

Throughout the night, he stepped back and allowed his musicians to take turns fronting - Rosalyn Dennett performed solo on the violin, and David Celia stepped in to do one of his songs (as mentioned previously, really enjoyed him.  Do check him out.)  Jory and David Matheson gave us a teaser to the Sounds of the 70s show they have scheduled at Hugh's Room in March (we are sooooo in for this one!), and we were also delighted with a first for a Jory Nash show that "I" have personally witnessed - a full costume change!  (complete with new hat, vest, tie, and belt...but I was wishing I'd gotten a photo of the costume number one belt buckle with the great big "J" embossed on it - it was awesome!)

Was incredibly pleased also to get one of my favourite go-to feel good songs off his Folk Jazz Blues & Soul album in the encore -  "Everything Feels Right".  Impossible not to nod your head like a Muppet when this one is playing which makes you smile goofily (and really, who doesn't want to hear a tune that makes them do that?).  The lyrics to this one are clever and fun.  Was happy to have heard it played live.

I think this tune, and the performance of "The Enemy" were the highlights for me, but really, it was all pure goodness, so hard to single anything out with great conviction.

As per usual, left the show feeling warm and happy.  Simply put, a Jory Nash show feels like home....and it's always a wonderful feeling to be home.  Fantastic night.  Fantastic show.  Thanks to Jory and band.

If you're looking to catch a Jory show, or want to grab some Jory tunes, check out his webpage here:  Jory Nash's Website .

Set List:

The Nighthawk
Atlas Takes a Ride
Careful How You Break My Heart
The Long Siesta
Darling Corey
Fiddle song by Rosalyn Dennett
God Don't Know Me Anymore
The Lord & The Losing Streak
When the Knives Come Out
Sally
The Edge of a Dream
Woodstock
Headlines

*Intermission*

Truth
Sunshine
Homeless Man
Danny's Song
Going Down to Town
The Best of Your Heart
A Night With You
Instant Puppy Love (David Celia)
The Enemy
A Song About Love
Helicopter's Circling
Wichita Lineman
A Kiss For The Great Unknown

Encore

Everything Feels Right
Jory Solo -  Springsteen cover

Glen Hansard - Danforth Music Hall, Toronto. September 16, 2012

On the night of the show when I got home, I wrote the following before giving up, logging off, and going to bed:

"Hard to write anything coherent on a show when all you can manage to verbalize, is "it was f**kin' awesome!"."

Here is my attempt to elaborate (and I warn you, once I get going, and open up the floodgates, it could get very wordy...).

It is now several (!) months later, and I'm finally getting around to completing this entry.  Lots on my mind these days to distract me and I'm 4 show posts behind (in addition to this show, I also have rough notes for Dan Mangan/the Rural Alberta Advantage, Bob Dylan and Neil Young yet to post from the 2012 concert year).  I recently(ish) had a friend remind me how much I enjoy writing about the shows I attend, so I'm going to attempt to catch up as thinking about my shows sends me to my happy place.  The relive for this one alone will give me a re-charge.  So... will fire up some Glen on the old iPod, and root around in the brain for the Glen Hansard "sweet spot memory files" and get on with it....

Glen Hansard is one of my very favorite musicians.  I find I use the word "authentic" a whole lot when describing musicians I admire, and it certainly applies here.  It's all about the music with this man, who is just as happy busking on a street corner as he is headlining a Massey Hall show (We've seen him at MH twice prior to this show at the Music Hall. We have not been fortunate enough to see him busk, but have wallowed away many an evening on YouTube checking out his spontaneous and joyful busking performances and can only imagine how amazing a musical experience it would be to be present).  No matter the venue, you can tell when he picks up that guitar, that he just wants to play, and slides into his comfort zone while entertaining the everlovin' shit out of his audience.  (and as a somewhat unrelated aside, until I fell in musical love with Glen, I was completely anti-facial hair.  Thank you Glen Hansard, for making beards sexy...I'd been missing out on a whole demographic of awesome men!)

Just say "no"!

Opening for Glen was Tony Dekker, in a solo side gig from "the Great Lake Swimmers".    While he sounded really good, the music was just a little too morose thus putting a damper on our concert high.  Adding to the downer effect was the gentleman in front of me who not only blocked my entire view of the stage, but inspired in me an unquestionable desire to stand up and holler: "say 'no' to crack!".

Luckily, he made some "adjustments" before the main event so my eye wasn't constantly being drawn to the grand canyon for the duration of the show.  But once Glen took the stage, I'm fairly confident that no level of great abyss would have distracted me...

Glen started the night out by walking onstage (complete with crazy toque!) to the piano to play the very pretty "The Storm, It's Coming" off the new album.  This served to gently warm us up, with a follow up launch into the higher tempo "Talking With The Wolves" briefly intro'd with: "this song is about being in touch with your cycles".  And we were off!

As per usual, Glen talked to us between songs and would generally set up the next one with an explanation of what it was about.  "Back Broke" was described as a song that explained how one feels when they are completely beaten down...but you know everything is going to be okay because "your person" is there with you and you are able to derive a sense of peace from that.  And "High Hope", where you will always hold someone in your heart, but know you can't be with them.  Letting them go and realizing that someday, you may meet them again in your "there" but knowing they aren't to be in your life.  The set list consisted of range of new and old faves.  And while I did get some off my personal wish list, I really would have loved to have heard "Song of Good Hope" live as it is my current favorite.  Maybe next time.

As mentioned, we've seen Glen before, but only with the Swell Season line up that included Marketa Irglova.  No offense at all intended to Marketa, but this show seemed to be a freer, more joyful night of music with her absence.  In addition to his 'Frames' mates, he had members of Levon Helm's band included in the mix that greatly contributed to the jam like feel of the show.  There was a lot of impromptu chatting, and banter back and forth with the audience members, and much encouraged crowd participation.

Glen and audience member singing "Say it to me now"

In particular, Glen recruited the audience for back up singing on both Back Broke and High Hope....and while I'm sure he 'says that to all the audiences', told us that we were "the best singers yet".   (awww, shucks.)  And further, Glen contributed to the delight of one young lady who was plucked from the crowd and brought up on stage to perform a duet of "Say it To Me Now".  (caught on YouTube - easily found if you're curious).  I have to say, this one displeased me somewhat.  It just so happens that this is one of my favorite Glen songs ever, so I really prefer to hear Glen sing it unplugged and solo.  But good for her - I would say she was shittin' bricks though - there was a whole lot of hair flippin' going on. (catty?  Yep.  Maybe...but seriously!  She took over my favorite tune!!!)

The biggest surprise however, was that one of my favorite moments of the night came near the end of the show when Glen called up a gentleman by the name of Peter Katz from the audience.  Peter is a local singer-songwriter (whom I'd never heard of before, but most definitely have since researched), and invited him to take over the stage and play a tune.

Peter Katz takes the stage

I was completely unprepared to be so affected.  I think it was the song.  He introduced the song as a tune that was written for a friend who had trouble sleeping due to severe depression.  Now, I don't suffer from depression but (a) what a beautiful thing to do as a musician for someone you care about and (b) as someone who has the perpetual inner monologue going 24/7, I wish sometimes I could put the brain on pause and get some damned sleep already, so this song, and the sentiment behind it, certainly spoke to me.

I've included the you tube video for the tune in it's entirety below (complete with Peter's intro set-up), but I don't think the clip does justice to the collaborative outpouring of beauty that it was.  Was one of those moments you witness of musical goodness that makes your skin hum.  He wasn't prepared to play as Glen called him up out of the blue.  Glen sat back and watched, and the rest of the band joined in slowly.  They all just kind of picked up on the melody and created this wonderful mournful symphony of beauty that brought tears to my eyes.  Felt it..., and it now remains a staple in my "calm the ef down" play list.  (yes...I have a "calm the ef down" play list...shit...doesn't everybody??!).

Capping off the show for the encore, Glen and band paid tribute to Levon Helm by performing "Don't Do It" (a cover of a Marvin Gaye song performed by "The Band") that was a rousing and soulful party on stage.  One of the few moments that Glen was without guitar which is always interesting to watch.  Seems the music is constantly flowing through him, and without the guitar strapped to him to channel it, he moves in some very interesting and "free form" ways!  And to acknowledge his geographical location, in tribute to Canada and Canadian music, the band performed Leonard Cohen's "Passing Through", while parading through the audience as the finale.

I loved this show.  And I love this musician (and his band and his guests, etc,...wow there was a lot of talent stepping on that stage that night).  Shows like this are the reason I love living in this city - We are very fortunate to be blessed with a lot of these types of shows, in these types of venues, where it's a collaborative musical experience shared with the audience rather than a large stadium type show that plays a whole lot less  personal.  Shows like this, are, I feel, what real music is all about.  It's a lot bigger than a jam in your buddy's garage, but it certainly maintains the meaningful and personal quality shared with the folks who come by to see you play that I love to my core.  My only real complaint?  It ended too soon.

Wanna see more pics?  Link to full show photo album

Peter Katz - Still Mind Still

Set List:

Full Band

The Storm, It's Coming

Talking With The Wolves

Love Don't Leave Me Waiting (with tease of "Respect" by Aretha Franklin)

When Your Mind's Made Up

Philander

Low Rising

Bird of Sorrow

Glen Solo

Happy Birthday To You (sung to audience member)

Leave

Back Broke

Astral Weeks (Van Morrison cover, with tease of "Smile" by Pearl Jam)

Full Band

High Hope

This Gift

Fitzcarraldo

Encore

The Finish Line (violin solo by Colm Mac Con Iomaire)

Say It To Me Now (with audience member singing second verse)

Gold (Interference cover)

Still Mind Still (performed by Peter Katz with Glen's band)

Don't Do It (Cover of 'the Band's' version of Marvin Gaye tune dedicated to Levon Helm)

Passing Through (Leonard Cohen cover...with full band marching through the crowd)

Joel Plaskett/Frank Turner - Queen Elizabeth Theatre, Toronto, May 18, 2012

Joel Plaskett

Frank Turner

 Man, I was not in the frame of mind going in, as I was musically "full up" heading into this show.

We had just taken in The Avett Brothers a few nights prior, and were still in re-live mode in a very big way as it was mindblowingly good.  My brain was unfortunately set to "temporarily closed" to any new music.  Further, I must confess to being a bad Maritime girl.... while I knew of and liked what little I did know of Joel Plaskett, and was aware that he is most definitely a maritime music staple and for good reason, I'd never seen him live and didn't really know a whole lot about him or his music.  What I did know was that he was from "home" and that my maritime compadres, whose musical tastes I trust completely, really love him.  There were a few songs here and there that I had come across and enjoyed, but that was about it.  In truth, my quest to see him stemmed a lot from his appearance in the movie "One Week".  He seemed quirky and talented, which is just how I like my musicians.  It was more personality driven in wanting to see what kind of live show he put on with absolute faith that the music would be good.  So off we went to the Queen Elizabeth Theatre in Toronto to take in the first of his two night stints closing off his tour.

Taking our seats, we noted that there was a "special guest" opener for the evening and proceeded to look him up to see what we were in for (opening bands are always either hit or miss...it's a good night if we can discover someone new).  Frank Turner, was described as a British "folk/punk" musician.  Needless to say, we were intrigued.  What exactly is "folk/punk" anyway, and how does it fit together with Joel Plaskett?  How did these two end up on the same ticket?

As explained to us by promoter Jeff Cohen, who introduced the show, each were looking for someone to tour with.  Cohen, as a huge fan of each of the artists, thought it would be cool to put the two together for Joel's tour.  I bow down to Mr. Cohen for his brilliant marriage of these two artists, without which, I would likely have never known who Frank Turner ever was.  (and that, my friends, would be a travesty).

I'll be reviewing this show in two parts, because unlike a lot of my past show blogs, I've got a whole lot to say about the opening act.  So without further ado....

Frank Turner

Now as mentioned, I had never heard of this man before looking at his name on my ticket about 10 minutes before show time.  But from what I gathered in my short presence in his stratosphere, I believe that he can be described in one word:  Authentic.

Truth be told, I was smitten with him right off the bat.  (he's only 30, so not (ahem), in a "cougar-y" way, just in an admiring, "I really dig what you do" way).  I'm a total sucker for a man with dimples, a Brit accent, and lets face it, any man that has anything to do with good music, so put these attributes together, and I couldn't help but be completely charmed. (so maybe just a wee bit cougar-y...)  I had entered the theatre not "all in" for this show, but by the time he finished his set, I was wide awake and raring to go, synapses firing, messaging my music buddies during the break wondering if they had ever heard of him.  (and they had.... way to bogart the Frank Turner, guys, jeez!)

His style was completely raw and unpolished, in the best possible sense, and with huge amounts of heart.  I fully believe that he talked and played from the stage as he would if he were sitting around with his friends, which contributed to the "real" feel of his show (and that for that night it really felt like we *were* his mates).

Even with just a guitar for accompaniment, he was able to fill the entire theatre with his exuberance.  High tempo strums combined with intricate finger picking were enhanced with his awesome forceful vocal delivery and crowd motivating lyrical content.  He was a big fan of crowd participation, and drew everyone in to several sing-a-longs.  And he had his own following - people who were there just to see him and knew every word to every tune and bellowed along with him.  (as a note, I'll be among that lot the next time he graces Toronto).

I've since downloaded his albums and am enjoying the re-live of what he performed for us live - total ear worm goodness.  Favorites at the moment are "Long Live the Queen", which I mentioned to a co-worker I want played at my death party (I don't want a funeral...just a party...bring my urn!) Her reply to this statement was "think kind of highly of yourself to have a song with the lyrics "the Queen is Dead" featured so prominently don't you?"...to which I replied "I'll be dead, can't you humor me this once?".  Aside from the aforementioned banter, it's a great tune. Also love "Substitute", my new personal anthem. The entire album is mint actually, but really, can anyone be surprised that I would connect so strongly with an album titled "Love, Ire & Song"?  "I Still Believe" and "If Ever I Stray" off the album "England Keep My Bones" are also in heavy rotation.  It's all yummy good really, and how can one NOT fall instantly in musical love with a man who claims that Gene Simmons is "a giant anus" for documenting his female conquests and being compelled enough in this belief to write a song about it?  (see set list below).

I'm now also a fan of the folk punk genre and plan to dive into it a little further.  Little less angry than classic punk.  But a lot of the same sensibilities and ideals as far as non-conformity.  It had the characteristic repetitive guitar riffs, but also contained a good deal of really great melody throughout to grab you and hook you in.  There are some truly poetic lyrics, interchanged with some rousing, fist pumping anthemic belt out choruses that take over your brain for days having listened to them.  (Have been sitting in meetings this week shouting (in my head of course), "I won't sit down.  I won't shut up.  But Most of all, I will not grow up!" and it's making me grin wide to the point where I'm constantly asked why I'm smiling).  Punk, folk, rock.....regardless of what genre he is dropped into, as bellowed out by Frank before our last great sing-a-long to "Photosynthesis", it's all rock and roll, and:  "Rock and roll is about one really simple fucking thing.  It's about a room full of people who are friends and who are equals, who came together without a barrier between them.  To sing.  To Dance. To Drink.  And to have a GOOD fucking time!  That's why we're here.  THAT's what rock and roll is all about".

A-fucking-men Frank Turner.

****

Now count it down like musicians...are you ready?:  one,  two.....One.  Two.  THREE.  FOUR!  

Enter Joel Plaskett....

Now one may think that having been soooo taken with the opening act, that it would negatively affect my enjoyment of the main event.  Not so.  Frank just got me warmed up and ready to receive, with every musical pore in my body on high alert and ready to absorb.

As expected, Joel Plaskett and his band, were all kinds of über goodness.  His show was one big, feel good jam that had the entire audience on their feet dancing for the duration.  In a theatre show with assigned seating, it's quite a feat to immediately get everyone standing, and have the crowd flow into the aisles and to the space in front of the stage to dance along.  Way to go Joel Plaskett - you turned the Queen Elizabeth Theatre into a kick ass party complete with a wicked soundtrack!

The music was a mix of acoustic vs. classic rock and roll tunes.  I loved this - I went in expecting a lot of singer/songwriter type acoustic fare (and wasn't disappointed - there were some wonderful stripped down tunes included in the set list).   Yet Joel and his band rocked the house for a good portion of the show, wailing away on their instruments in true rock show fashion and producing some high energy, top notch music.

He was the most interesting man to watch - he is all tall lankiness, and when he moves, it is with a cool flowy smoothness.  His stage presence kind of reminded me of Tom Petty, in that it was so easy and relaxed, but radiating "cool" (If you've been to a Tom Petty show, you know what I mean).  When he spoke, it wasn't in a hollery way - it was upbeat, but in conversational tones.  Comfortable in his skin.  In his element on the stage.  A highly skilled musician.  Charismatic and real.

The quirkiness I was looking for was evident as well.  There were several lengthy chatty moments that filled me with delight - explanations of their various tour vehicles over the last decade and a half that were extremely amusing detailing the sleeping arrangements in each (i.e., each bunk had a name, and one bunk was referred to as the shits....nobody wanted to sleep there, 'cause "it was the shits"), how he came to have two dancing monkeys mounted on a bench attached to a foot pedal (dancing monkeys are always funny), and the story behind "Love This Town" that extended into a good 10+ minutes in the middle of the song (to the continuous strum the guitar of course - "if they treat you wrong, get them back every night in song").  Wonderfully entertaining.  I love musicians with personality that let us into their lives a little.  These entertaining little stream of consciousness segue ways always make me extremely happy at a live show - they are the three dimensional bits that you can't get from sitting at home and listening to an album.

Two very different artists I was baptised to this night - so very different in their styles, yet similar in a lot of ways.  Both highly talented musicians.  Both passionate about their music.  Both highly into interacting with their audience.  Both on my list of must sees going forward.  Fantastic night of music all round.


Frank Turner Set List:

I Knew Prufrock Before He Got Famous
Try This at Home
Peggy Sang the Blues
Wessex Boy
I Am Disappeared
Substitute
New and still untitled song
Long Live the Queen
If Ever I Stray
Wherefore Art Thou, Gene Simmons?
English Curse
I Still Believe
The Road
Photosynthesis

Joel Plaskett Set List

Tough Love
Waiting to Be Discovered
Deny, Deny, Deny
You're Mine
Heartless, Heartless, Heartless
North Star
You Let Me Down
Harbour Boys
Beyond, Beyond, Beyond
Love This Town
Face of the Earth
Nowhere With You
Lightning Bolt
"Work Out Fine" with interlude medley featuring Lee Dorsey's "Rain Rain (Go Away)," April Wine's "Oowatanite," The Rivieras' "California Sun," Manfred Mann's "Doo Wah Diddy," Sam Cooke's "Cupid" and Eagles' "New York Minute"
Through and Through and Through
"Maybe We Should Just Go Home" with interlude medley featuring Bo Diddley's "Who Do You Love?"
Extraordinary
Encore:
I'm Yours
Rollin', Rollin', Rollin'
Come On, Teacher

The Avett Brothers - Danforth Music Hall, Toronto, May 15, 2012

Crawling into work today dead tired after a night out, I met a co-worker in the elevator, and in obligatory elevator conversation, I mentioned that I had gone to see the Avett Brothers last night.  He gave me a funny "who the f**k are they" look and then said "The Avett Brothers... you're getting old", then punched me in the arm and walked away with a superior look on his face before I could respond.

Firstly, I believe he's mixing them up with someone else (the Everly Brothers, likely) and has no idea who they are.  Secondly, he once admitted to attending and really enjoying a Celine Dion concert.

Need I say more?

But to the point - if you don't know who the Avett Brothers are (and a lot of people I know don't, which is a tragic), for the love of all that is holy, please go seek them out, because you are out of the loop on a really cool, high energy and creative musical experience.  They blend, in a really interesting way, traditional roots instruments (like the banjo!) with balls out rock and roll.  They take a little bit of bluegrass, a little folk, a little hard edged alternative rock, throw in a plethora of funky instruments, and mix it all up in a pot of awesome sauce. What they do, is true musical innovation that crosses a whole heap of genres, and it works unbelievably well.  And at the heart of that musical creativity, lies the true talent of brothers Scott and Seth Avett.  The boys rock a number of instruments, write incredible music and lyrics, and have clear, strong voices that when slowed down and stripped back, produce the most amazing harmonies (to my co-worker:  kinda like the Everly Brothers, dude, just younger and cooler and current and able to jump around the stage with incredibly high energy without need of a walker...jeez).

We attended the first of two sold out shows at the Danforth Music Hall on Tuesday night, and had we had the ability to see the future when buying tickets, would have been going again tonight.  They really were THAT good.

With no opening act, they took the stage at around 8:45pm and played a solid two hour set.  They immediately launched into "Laundry Room" with it's beautiful harmonies and call and answer format that kicks into a heel stomping 'whooo hooo-ing' conclusion.  This was the perfect intro to set the tone for the show consisting of energetic jams (I can now claim to have seen a cello player bang his head to rival any metal act, not to mention, a Hendrixesque fall to knees wail on the banjo), offset with quiet acoustic melodies that were so pretty they hurt your heart.

And while musical talent radiates out of Scott and Seth Avett, making them an absolute pleasure to behold, their band was also particularly enjoyable.  Not often is it that your attention is turned from the talented and charismatic front-men to the Cello or Stand-up Bass player, but this turned out to be the case quite often during the show.   It was amazing to watch them go - Joe Kwon on the Cello continued to draw my eye.  You'd think that being tethered to such a massive instrument would keep you somewhat subdued, but not so - The man was jumping around wildly to the music and singing his heart out (no mic), and as mentioned previously, headbanging to the beat - full on joyful possession by the music.

The show had so much variety there was something for everyone within it.   Picking out a favorite was impossible because there were so many different styles to choose from.  Loved that Scott and Seth each took a solo turn for a slowed down folk ballad (Scott performing "Murder in the City" and Seth "Ballad of Love and Hate" - see YouTube links below for our show's performances).  Pure beauty.  Their duet performance of "When I Drink" was just a whole heap of fun.  The full band rocked up jam of "Head full of doubt/Road full of Promise", one of my favorite Avett tunes, showed they can bring a venue to their feet and pump them up to ecstatic heights.  (see link below).  The boys have some rock in their souls for sure.  "Kick Drum Heart" was just the most fun I've ever had at a concert ever, and seeing the entire band on stage having equal amounts of fun performing it added to the über amounts of pleasure.  However, the tunes that made me go back the next day and re-listen because I just had to hear them again (on repeat!) were "Shame", and "Tin Man".  Sometimes hearing songs live gives you a whole new appreciation for the guts of the songs, and this was the case for these two.

I've been pretty vocal about musical preferences, and how I enjoy a wide variety of genres, and yet have a strong dislike for twang.  Generally, the banjo is slotted into this "twang" category but I have to say that I've been converted after seeing this show.  I've never before seen anyone rock the shit out of a banjo, but I now am witness to it's possibility.  It is to the credit of the Avett Brothers creativity that they were able to produce a sound with instruments I would normally shun, that completely pulled me in and turn me around to embrace them.  They can't be pinned down to any one genre, and I absolutely love this about them.

I came out of the show and my cheeks hurt from smiling as "big goofy grin" was my permanent facial expression for the evening.  I think the secret ingredient may just have been the positivity and "goodness" that this band laser beams out to it's fans.  I tend to gravitate towards music that makes me feel, and a lot of the time that involves content that can be sad, or lack positivity, where you can latch onto a big emotional pull and be empathetic to the experience and that is the connection I make to it.  What the Avett Brothers inspire, I find, in their music and in their personalities, is hope.  Even the mournful music they produce has an element of hope to it, and their presence just beams of it.  They seemed to be extremely sincere in the love of what they do, and their appreciation of us for enjoying it.  The evening was a giant love fest between stage and audience (in their goodbye to us, Seth even referred to us as "Sweethearts".  Awwww!).  He was definitely my favorite Avett.

Their Facebook page this morning sent out a picture with a note:  "Oh Canada...we had such a very good time.  Thanks so much for having us."  Scott, Seth and band, no, Thank YOU.  Most fun I've had at a concert in a long time and I so look forward to your return.

Set List:
Laundry Room

Will You Return
The Fall
Down With The Shine
Shame
January Wedding
Paranoia in B Flat Major
Tin Man
Love Like The Movies
Head Full of Doubt/Road Full Of Promise
Murder In The City
I Would Be Sad
Denouncing November Blue (Uneasy Writer)
Ballad of Love and Hate
When I Drink
Just A Closer Walk With Thee
And It Spread
The Traveling Song
At The Beach
Pretty Girl From Cedar Lane
Kick Drum Heart
I and Love and You

Encore:
Living Of Love
Perfect Space
Talk on Indolence

Scott - Murder in the City



Seth - Ballad of Love and Hate



Full Band - Head Full of Doubt/Road Full of Promise

The Black Keys - ACC Toronto, March 14, 2012

My first introduction to the Black Keys a couple of years ago was, like a lot of my music discoveries, a recommendation....  The song was "Girl is on My Mind" off the Rubber Factory album.  I listened to this tune, and it immediately took hold of my brain.  The awesome guitar licks.  The smoky sexy vocals. The rhythmic, sultry beat.  Simple, but with a great hook.  Totally turned me on.  It was one of those tunes I found myself humming to myself for days.  Then I checked them out, and imagine my surprise, when I discovered that the "band" that produced this little slice of funkalicously soulful awesomeness, consisted of two somewhat nerdy looking white dudes.  Now I say this with complete delight, and no disrespect intended  (I have a weakness for nerds...it's a kinship thing I think, as I tend to 'geek out' a lot). Point being, it's not often you see so much soulfulness come out of the white and nerdy, and they have been blessed with an over abundance of it, so much so, that it makes them unconditionally and indisputably über cool!  Love.  Them.  Madly.

I have followed (and loved them) since; through Attack and Release, the Brothers album and their latest, El Camino.  We managed to see them touring the Brothers album last summer and thought they were stupendously good live so added them to the "must see" list.  For this current tour, the world seems to have woken up to their awesomeness and they are an incredibly hot ticket, so we were pleased to be able to nab fan club tickets on presale prior to their Toronto show selling out.

As with a lot of fan club pre-sales these days, you purchase the tickets, and are guaranteed to be within the first X amount of rows, but you don't know exactly where your seats are until the tickets arrive in the mail.  When our tickets arrived and listed "Floor - row 3, seats 35 and 36", we thought that would be great!  We have had floor seating at the ACC before and vowed never to go back due to our vertically challenged status and lack of slant/grade of the floor for viewing over the top of heads, but seeing as how it was row 3, considered them to be pretty decent seats.  We'd be able to see what was going on from the third row.

Turns out there were no seats on the floor for this show, a discovery we made upon entering the venue.  Crap!  Our aged arses were going to have to stake out a spot in the mob.

Onward we went.  Oldest people on the floor that night I'm sure, but we staked out a gate spot on the left side of the stage and planted ourselves for the duration.  Kind of glad it worked out the way it did - we were able to experience it in a whole different way.

Arctic Monkeys, the opening band, was spectacular.  I've heard of these guys before, but will definitely be digging into them further.  High energy, great music, and a drummer I immediately fell in love with.  (have I mentioned I love drummers?).  They played an hour long set that displayed their musical prowess, and I enjoyed them immensely.  The front man had great cocky Brit swagger, that you couldn't help but be caught up in.  Would definitely see them if they headlined a show here.

Then the Keys took the stage, and Dan strapped on his guitar, approached the microphone and said "let's get this goin'" cuing Patrick to immediately launch into the drum beat for "Howlin' for You" amidst approving screams of the audience.  With our proximity to the stage, we had a great view of the boys up close and personal.  (Like front row...but better!).  Being this close to the speakers, we not only watched and "heard" the musical goodness pumping off the stage, but were able to "feel" the reverb course through our bodies.  Impossible to not get completely caught up in the music when it's whooshing through all of your senses at such intensity.  (Had a mental image of all that musical sensation mixin' and blendin' with my internal molecules - serious "whoosh" high for the rest of the night!).

One thing you already know going in, but that completely blows you away live is how amazingly talented these two men are.  With only a set of drums and a guitar (they did have a backing band, but sent them away for several songs leaving just Patrick and Dan on stage), they created a sound that had incredible depth considering the lack of additional instrumentation.  For example, their rendition of the aforementioned "Girl is on my Mind" with just the two of them.  While feeling that drum beat and the spontaneous blistering guitar solo, you felt delight in the fact that they turned it into a jam (with 18,000+ people - not your average garage jam) where they were feeling it out rather than playing as written and recorded. They just let that song roll out of them as a psychically linked unit, improvising as they went.  One changed it up and the other was right there with them.  It was fantastic.

Patrick Carney on the drums is a total machine.  There is a lot of percussion happening in these tunes, and his ability to thrash it out at the level that he does is very cool to watch.  He lost the glasses part way through the second song.  Reached up and took them off, then tossed them behind him.  Who needs to see when you're playing straight from the soul anyway, right?

Dan Auerbach on guitar and vocals ripped it up.  Executing blistering guitar solos while belting it out, he had us all enthralled.  He didn't move around a lot as he was tethered to his guitar, and there wasn't a whole lot of banter out of him - he was kind of all business, but he was definitely engaged and into the music.  Transcended words.

I know I've said this before, but it's a real treat to see those musicians that you can tell really, really love what they do.  To witness them cross over into that "zone" when they play...that musical world... and to take us along with them, was pure magic.  The Black Keys have such a great varied sound to them that is kind of hard to pin down.  There are truly soulful moments, with a dash of funk and pinch of jazz.  And there are moments that feel like real old school rock...almost have a Led Zep sound and feel to them.  All these moments make for a fantastic show.  Fave tune of the night had to be "10 cent pistol" that wrapped all their styles into one tasty package and was presented to us in extended freestyle with the boys giving it their all.  "Little Black Submarines" was also amazing - started out with just the two of them, with a complete build up in intensity with the backing band joining them onstage mid way through to bring it home.  Inspired the fully packed ACC crowd to hold up their lighters in old-school, rock and roll approval.

Lighters held high for "Little Black Submarines"

Oh, and our place on the floor at the stage, standing with the mob?  My calves ached like a bitch the next day.  There was a lot of bouncing/dancing in my spot for the duration of the show.  And my arms hurt because I had to raise them above my ears in order to lean them on the top of the gate (yes...I am that short).  And all that "whooshing" made me feel like I'd taken a beating from a rubber mallet. (holy "whoosh" hangover).  But it was totally worth it.  Totally.  Our two nerdy white dudes?:  Transformed into Rock and Roll Gods, right before our eyes.  Make no mistake:  the geek shall inherit the earth.  As it should be.

Set List:

Howlin’ for You

Next Girl

Run Right Back

Same Old Thing

Dead and Gone

Gold on the Ceiling

Thickfreakness

Girl Is On My Mind

I’ll Be Your Man

Your Touch

Little Black Submarines

Money Maker

Strange Times

Chop and Change

Nova Baby

Ten Cent Pistol

Tighten Up

Lonely Boy

ENCORE

Everlasting Light

She’s Long Gone

I Got Mine

City and Colour - Massey Hall, February 10, 2012

I was never really a fan of Alexisonfire.... but I liked Dallas Green.  I appreciate that as an alternative band, adding a second vocalist in addition to Dallas provided a really interesting sound layering.   I get that...but I didn't care for it.  You had Dallas, who had a great voice that could belt it out, and then you had "the screamer".  Without all that hair ball expelling sounding yelliness, Alexisonfire had a great deal of potential to be a favorite of mine, but even though they weren't, I always felt that Dallas Green was the real deal.  So when he embarked on a solo project along the singer songwriter folksy type vibe, I was intrigued, and ultimately enamored.  It just seemed like such a complete turn-around.  (I love musicians who take a risk...and I truly feel, that going from hard core alternative rock band to acoustic songwriter type artist where the fan base is usually miles apart and generally fickle could have been a wee bit risky).  But evidently, the risk paid off and took hold - City and Colour booked two sold out shows at Massey Hall and we snagged tickets to the Friday night show (marking our first concert outing, and visit to Massey Hall, of 2012!  Yay!)

Opening the show was The Low Anthem, a band from Rhode Island.  Jakki and I have seen them (and liked them) before actually - they opened for Ray LaMontagne way back in 2009.  They were enjoyable.... uniquely so.  Rootsy, folksy, quirky.  Lots of different types of instruments....the lead singer played a saw at one point.   (that's right!  A saw!)

City and Colour took the stage starting out with an almost country version of "We Found Each Other in the Dark".  I love this song...but I could have done without the "twang".  I wasn't sure what to expect for this show (was half expecting Dallas Green with a guitar, solo on stage, all acoustic like), but there was a full band in tow.  And it seems it took them a few songs to get themselves warmed up and in sync.  For the 4th tune in "The Grand Optimist", and one of my favorites off the new album, I noticed in particular that the guitarist seemed to be completely "off" and out of pace with Dallas (who you would think they would ALL look to to set the pace...but apparently not).  It almost hurt to listen to.  In addition to that, the flashy (and oh so unnecessary) light show was at the point of sending me into a full on seizure.  (Dudes.... my retinas are still burning!)  I know, I know...complainy right?  But I really wasn't having a good time up to that point.  Even checked my watch.  Admittedly, could have been just some residual crankiness with a "you better impress me" attitude - I'd had a long week, I went in with a headache and we had to wait in line for about 20 minutes just to get a bottle of water...but I'd like to think that my impression of what was happening on stage with an artist I admire wasn't swayed by my personal mood - after all, I was really looking forward to this show.  I stand by my opinion that the band just hadn't found their gel to that point.  (and the sound was shite - could barely hear the vocals and Dallas' guitar was drowned out by the rest of the band).

However, the songs that followed seemed to tighten up a bit.  "Weightless" with full band was the turning point I think...Dallas found his full voice and unleashed it, the band seemed to pull it together, and they all sort of seemed to relax into it and I in turn relaxed into my happy place.  And when the band left the stage and left Dallas solo to play a few tunes for us, I was completely and totally drawn back in.  This was what I paid to see.

My favorite parts were definitely those where he was on stage solo.  The thing is, Dallas Green has one of the purest voices in the business, in my humble opinion.  And when you have a voice that is, without a doubt, the most hauntingly beautiful instrument in the room... you kind of want to hear it without a lot of background noise, you know?  Stripped down, without encumbrance.  He is truly awesome to listen to.  As Jakki said to me post show "sometimes you see a singer gearing up and "going for it" (to hit a vocal range)...but with him, he's already there.  It's effortless".  Indeed.  This solo piece dropped into the show gave us a chance to appreciate his true talent, and to connect with him as he interacted with us.

Prior to "Body in a Box", he made a request to the audience.  He asked us if we could please, just for this one song, stop taking pictures, or tweeting, or videotaping, just for this one, so we could not be working so hard trying to document it to remember it that we miss out on experiencing it. (Nice Dallas Green!).  Was easily my favourite song of the night.  (and there's something about the harmonica/man with a guitar combination that makes me a little weak in the knees.  If that's wrong, I don't wanna be right.)

Thoroughly enjoyed (with full band) "Sorrowing Man" to close out the show.  The band seemed to work out their issues, and there was some cool harmony and was a great exit tune with all laying it on the line.  Was initially thinking the presence of a band would up my chances of getting "Hope for Now" as it kind of needs at least a set of drums to launch into the build halfway through. But no go.

Ultimately, it wasn't a bad show but I'd have preferred it had he ditched the band altogether.

To summarize:

Dallas Green = awesome.
His band - not so much.
MH sound - abysmal.  What's up with that?

Check out the encore performance of "Comin' Home" below - amazing display of what Dallas Green can do with his voice and a guitar..




Set List:

We Found Each Other In the Dark
Sleeping Sickness
The Death of Me
The Grand Optimist
As Much As I Ever Could
Weightless
Day Old Hate
Body In a Box
What Makes A Man?
The Girl
Little Hell
Waiting...
Fragile Bird
Sorrowing Man

Encore

Comin' Home
Sometimes (I Wish)

Ryan Adams - December 10, 2011, Winter Garden Theatre, Toronto, ON

I adore Ryan Adams (That's "RYAN", the angsty singer songwriter, not "BRYAN", the Canadian summerofsixtynine guy.  I can't count the amount of people I had to make this distinction to when I said I was seeing him, and even the ushers guiding us up the stairs in the Winter Garden Theatre were directing us to the Ryan "Not Bryan" Adams show....wow).  I think Ryan Adams is a brilliant (and extremely prolific) song writer who pours his soul, insecurities, past heartbreaks, and life lessons learned into his music.  This is a quality I treasure in my favorite musicians - the cathartic sharing of experience set to song.    I enjoy him tremendously.  But prior to this show, I wasn't sure what to expect in a live setting.  I have read a number of reviews from past tours that commented on his insistence that the audience behave a certain way, and we were a bit apprehensive going in for this reason.  He's been portrayed as temperamental live (no clapping along, no audience interaction tolerated, and certainly no cameras or cell phones without incurring his wrath)...he has definitely been labelled as difficult in the past.  This was my first Ryan Adams show, and I was mentally prepared for the rumoured "attitude", but it seemed like a worthwhile exchange being able to hear him live.  Gotta say though...did not experience any of that - He was truly delightful, infinitely talented, and charmingly funny.  He put on an exceptional show.  I found myself smiling so wide for the duration that my cheeks ached the next day.  I'm still smiling as I relive. That's some serious long lasting enjoyment. 

The Music:

Ryan Adams is the consummate musician and as a result, the music was of the top notch, skin humming variety. What can I say? His vocals were effortless, yet flawless, but possessed a rawness to them in the live setting that cut straight into your soul. Opening with the hauntingly quiet "Oh My Sweet Carolina", he played a number of new and old songs spanning his vast catalogue of material, from his Whiskeytown and Cardinals days up to the new album, Ashes and Fire, (save the two I'd really hoped to hear "Invisible Riverside" and "Do I Wait"...but we did get "Dirty Rain" and "Lucky Now").

Watching him play his guitars made me giddy.  A favorite in particular on guitar had to have been "I See Monsters".  What a great song, lyrically and melodically..... but watching him pick it out on the guitar with such skill was a thing of beauty.

Due to some sound problems in the venue (a looping, clicky noise), he only did two songs on the Piano, but his piano version of "New York, New York" with it's slowed down tempo was absolutely beautiful, and I think I prefer it to the original.  

Ryan doing "Dear John" (with a little bit of his personality, pre-song...)


He closed his set down prior to the encore with his signature tune "Come Pick Me Up".  I love this song.  Such a well crafted song with a myriad of emotions portrayed... he really got to the heart of a classic shitty relationship - blatant anger at the other person for taking advantage, anger at himself for not having the strength to walk away, and an almost quiet shame for not being able to help wanting them anyway.  (Raise your hand if you've never identified with this one).  Was spectacular to hear live, a true musical moment for me.

And amazingly, after 2 and a half hours of completely enchanting us with his tunes, he said he only had a couple more songs and that he "was gonna let us get on with our night" ('cause really, like anybody in that room would want to be anywhere else!).  I was sad that it had to end.  But he did do an encore that included an acoustic cover of 80s hair metal band Ratt's "Round and Round" and finished off with the mournful "Why Do They Leave" with the warning to "not rock out too hard to this one"!  And on that note, his enjoyable quirky personality really needs to be featured, which brings us to:

The Ryan:

He was shaggy haired and casual, dressed in jeans and his Motörhead sweater (that's a "sweater", not a "shirt"....a "sweater"....more on that in a sec).  He was fidgety - legs constantly adjusting when sitting and playing his guitar, and hand gestures abound when talking to us, as well as constantly brushing his hair back out of his eyes.  You could literally see his thoughts going a mile a minute via his facial expressions and movements.  There was a lot of randomness that busted out of him that contributed to my enjoyment of him as a person.  He was highly entertaining and at times, comically self deprecating with a natural straight man delivery.  The Ryan Adams 'personality plus' so raised the bar of the show.  For instance:

• Attempting to tune his guitar (without success), raised it to face level, growled at it, then picked it up (along with the stand), walked it to the back of the stage and placed it with it's back to us....yep...he put his guitar in 'time out'.
• Mentioned (when having difficulty with his second guitar) that the reason they were misbehaving was likely because the two of them (the guitars) had snuck backstage together and smoked a joint.
• said that he was reading Bram Stoker's Dracula, and that it seemed odd to him that Dracula had such mad cooking skills in the novel and that he was constantly preparing food.  Was a recurring theme throughout the evening, with him even launching into an improv song about the feared Count cooking Perogies and Tator Tots.  (as a side note:  have downloaded the novel to my new Kobo... I think reading it in a Ryan Adams headspace will make it so much more entertaining than I remember).
• also improv, put his aforementioned Motörhead sweater back on and launched into a song (from the point of view of the sweater, of course) about how it was a sweater, and not a shirt, and how it was forced to "lie with him in his bunk" and that Ryan "pretended he was edgy, but he's not, he writes really sappy songs about how he fucked up this relationship, and fucked up that relationship and how his friends suck, etc., etc....".  It was pure comic self deprecating, guffaw inspiring brilliance that went on for several verses (with Harmonica bridge even!)

I could go on and on at his little moments of pure awesomeness.  He did interact with the audience a little (with signs of slight annoyance, but really, I was so "with" him both times).  A man continuously hollered to him throughout the first part of the show, to the point where when he went to the Piano and sat down and the man hollered out again, he actually turned around, sought out the man and said "You see this?  You see me looking at you?  Do you feel connected now?"  It was said calmly and with an edge of humor...but it shut the guy up.  And once more, when he pointed out to a woman in the audience and said "you know, there is a button on your phone labelled "taking pictures covertly at a concert without the 'clachik' fake camera sound.  Go to your settings...it may not be called that, but it's there".  He got his point across... in a manner I found quite humorous.  Good on him.  If that's the "temperamental artist" bit that everyone is talking about, I can only hope that more of my fave musicians adopt it when someone in the crowd is acting like an idiot, and/or that Ryan's future audiences perhaps develop a sense of humor.  Toronto was completely charmed.  Thank you Ryan Adams for an intimate, awe inspiring evening.

This was our finale show of 2011.  And as the end of the 2011 concert season is upon us (with a few shows already booked for 2012!), I've had a few people comment this year that they think the amount of concerts I see is a waste of money... that the ticket price we pay is too much for a couple hours of music when you could listen to the CDs in the comfort of your own home.

I couldn't disagree more.

It is now 21 days following this show, and I keep going back to the playlist I've made that duplicates the setlist from it, and for every song, I'm taken back to how I felt when he played it live. I remember the stories he told prior to particular songs, and re-experience the soul swelling goodness as the music courses through me. It's all subjective, I suppose, but for me, the live performance is one I feel for months afterwards....believe me, I get a lot of "bang" for my "buck". I can still capture THAT moment when listening to Ryan Adams' music now, so it lasts more than a few hours and makes me appreciate in a different way some of an artists' songs I may have overlooked before, makes me dive into previously undiscovered albums, and makes me appreciate them in a whole different way.  If you're the type that measures enjoyment in units of time, (I'm most definitely NOT), maybe this might give you some insight to why I love the live music experience (even if you think I'm wasting my hard earned cash).  Sooooo worth it, and such a great way to cap off the year.  Ryan Adams has been added to the "must see" list.

Setlist
Oh My Sweet Carolina
Ashes & Fire
Firecracker
Dirty Rain
I See Monsters
My Blue Manhattan (piano)
Two
Everybody Knows
Dear John
Let It Ride
Desire
Dear Chicago
Chains of Love
Lucky Now
Afraid Not Scared
“Dracula Cooking” (improv)
Please Do Not Let Me Go
This House is Not For Sale
New York, New York (piano)
My Winding Wheel
16 Days (Whiskeytown song)
“Motörhead shirt” (improv)
Come Pick Me Up

Encore
Round and Round (Ratt cover)
Crossed Out Name
“Thanks for coming” (improv)
Why Do They Leave