So when the powers that be at the NineEightSeven told me to go check out Spoon at the Malkin Bowl last Saturday I was obviously excited because it seems like almost anyone you ask can name a Spoon song and has a story about it to boot.
Almost … but not everyone … with myself being a slightly embarrassed portion of the “not” category.
So, after getting distracted by my uncle’s invitation to play some pick up hockey on Saturday morning (shout out to Uncle Tohmm still going bar down in his sixties) I still hadn’t fully figured out the story behind what makes Spoon so great … but I was excited to find out.
I rolled up to Malkin Bowl (literally … biking through Stanley Park is definitely one of my favourite parts about shows at the Malkin Bowl) on a beautiful Saturday night. I then started asking around on what made Spoon so special “for readers who might not know them that well” (people did not look like they were fooled by this obvious cover up). I got some pretty good answers, and decided to fact them check as the show started.
1) The Variety of their Music:
This one was dead on the money. I don’t think I’ve ever heard a band with as wide of a catalogue stylistically where each song sounded so good! (say what you will about Lil Wayne’s brief foray into rock) This was probably my favourite part of the concert, I literally had no idea what to expect each time they finished a song and transitioned into the next. If you told me that they were pulling a reverse-Wayne and putting out a rap album, I’d assume it was going to be good.
2) They make pop songs that sound like a jam
This one came courtesy of a musician and I can see why. Spoon broke down the end of countless songs with jams that showcased an amazing display of musicianship. While the slowed-down extended keyboard solo may have lost me for a little bit, in an age of backing tracks and superbowl performances with guitars that aren’t plugged in, this was a very refreshing performance to see.
3) They’re a Very Consistent Band
While I haven’t listened to every Spoon album, I can definitely see how these 2 guys to the front right of the stage could make this point. Despite wide stylistic differences, each song was consistently good, and while I’m taking their word on this one (I don’t think the NineEightSeven is willing to wait for me to listen to every Spoon album before I submit this) I really have to give it to a band that can keep up this level consistency. Every song they played on Saturday night was very good and has definitely motivated me to get started on working my way through their catalogue.
4) They Put on an Amazing Show
I’m going to go out on a limb and give you guys one opinion that I didn’t actually (crowd)source. The band put on a phenomenal show, their stage lights were great and worked amazing with the performance they put on, the band played insanely tight (almost like they’d been touring together for 24years .. who’d have thought), Britt Daniel (guitars, vocals) honestly some of the best stage moves I’ve seen from someone holding an instrument. They put on a delightful show that I would 100% recommend checking out next time they’re in town … even if you’re one of those uninformed simpletons who couldn’t even name one of their albums before you went and reviewed their show for a music blog.
The best part of this show though is that it made me want to throw the hockey gear back in the closet and dust off my guitar as soon as I got home (along with cuing up Apple Music to download a bunch of their albums), and if that isn’t the best compliment you can give a show then I don’t know what is.
Also as an aside … what is it about bands from the South that they sound vaguely British in the way they sing (think Spoon, Cage the Elephant)? I guess I’ll just have to add this mystery to the many reasons why Nashville and Austin are high up on my list of places to visit (my friend John from Winnipeg also claims that people say this about him when he sings … but I’ve never seen him perform and I really don’t want to go to Winnipeg to investigate).
3 cherry bombs out of 3!
Review: Jeremy Campos
Now if I’m being totally honest, other than the occasional Banana Pancakes Tinder reference, I haven’t given Hawaiian soft-rock golden boy Jack Johnson much thought since the early 2010’s. But it’s 2017, and the man is clearly going strong. With his 7th studio album, All The Light Above It Too, set to release September 8th, a new single, My Mind Is For Sale, and a tour to boot, Jack Johnson rolled into Deer Lake Park this past Sunday to perform for a sold-out crowd.
Deer Lake Park was the perfect venue for this show, as the crowd stretched out all across the lawn on a bright sunny day, drinking, and enjoying food from a variety of food trucks that made me wish I hadn’t eaten dinner beforehand. The crowd had a nice family vibe as a lot of young kids grooved along with their parents to Jack’s set.
From the moment Jack, Zach (keyboard, vocals, accordion), Adam (drums), and Merlo (guitar) kicked off with ‘Hope’ we could tell we were in for a good show. By the time they moved into ‘Sitting, Waiting, Wishing’ as their next song, it was evident that they haven’t lost a step since their music festival headlining days, back in 2013. The band was smoothly rocking and Mr. Johnson’s vocals were basically perfect. They even threw in a brief cover of Foxy Lady for a little extra musicianship.
All the while, Jack flawlessly played the part of your friend’s cool dad. His stage presence was at once endearing, telling stories about falling off his bike in Stanley Park, and taking a break during a song to sign a record. But also self-aware, as he called on all the parents to put their kids on their shoulders before playing ‘Upside Down’ off of the Curious George soundtrack, and talked about how lame his 16 year old self would think his current band is. But above all else, it was pure fun, as he joked about the photographers making him mess up the words (sorry from Nine Eight Seven!), good-heartedly laughed at people who got hit unexpectedly by beach balls, and called up 2 people dressed as bananas for what else … ‘Banana Pancakes’. Also I’ve got to say this, I’ve seen people in banana costumes at a lot of shows, but this has got to be the best one yet (sorry Robbie and Brett!).
This night was packed with good music. It seemed like every song they played was an easily recognizable hit, and it made you really remember what a great catalogue of music Jack Johnson has put together throughout the years. The highlight of the night had to be when he pulled out the ukulele for ‘Breakdown’. Say what you will about his mainstream soft-rock persona or family friendly concerts, but his vocals on this song were worth the price of admission and, if I’m being totally honest, made me into a Jack Johnson super-fan. The band put on a great show that clearly resonated with all of their fans, be they new, old, young, casual … and judging from all of the couples on dates at the show drinking rosé on a beautiful summer evening … may even have helped make a few new fans 9 months down the road.
CBC are bringing their Musical Nooners Concert Series back for their 8th summer, running every weekday (12pm-1pm) from July 7th to August 25th at the CBC outdoor stage (700 Hamilton st). The event features different artists every day, with genres ranging across the board. It’s a great way to switch up your lunch break, and catch all these local acts, for free!
Among the many talented artists performing is a group that we’ve been quickly falling in love with: The Velveteins, an indie rock band from Edmonton. We were fortunate to catch them in Victoria last November, and Vancouver in April. You best believe we’ll be catching their CBC Nooner set on Friday July 28th.
The Velveteins began as a solo project after Spencer Morphy (vocals, guitar) took an extended trip down to Australia, where he became a beach bum and fell in love with psychedelic music while travelling the country in a campervan. He brought back that beach lifestyle to Canada in 2014, where he teamed up with Addison Hiller (vocals, percussion) and channeled it all through The Velveteins.
Their first EP, Fresh Claws, was released in 2014, followed by a second EP in 2015, titled: A Hot Second With The Velveteins (which was produced and recorded by Cage The Elephant’s Lincoln Parish). These releases received critical acclaim, creating a splash both across the country, and internationally. This May, The Velveteins released their debut full-length album, Slow Wave. Imagine a modern day Beach Boys. It’s the perfect soundtrack for these summer days.
987’s Torben Robertson was able to get in a cheeky Q&A with Spencer Morphy, and even though we only got in a few questions, we can tell the dude’s a chiller.
1) You’ve said your sound is influenced by Australian Psychedelic rock. That’s cool, but seeing as it’s Canada’s 150th, can you describe the influence Canada, and your hometown of Edmonton, have had on the band’s sound?
Yeah totally. We really love Calvin Love’s new record, he’s from Edmonton. Also Michael Rault, whose another Edmonton boy. Other than that Daniel Romano’s super rad, we love him too.
2) Spencer, you’re clearly a capable player: who are your favourite guitarists?
Hah thanks! I’ve had several favourites. I’d have to say as a younger Spenny, Jimmy Page blew my mind. Nowadays I’m always finding new stuff. I really like the guitarist from Whitney, and Ex-Smith Westerns, also Jeff Beck rips.
3) You’ve played with some great acts. USS, July Talk, Milo Greene. For whom have you felt most fortunate to open? And for whom would you like most to open?
We toured with Elephant Stone in November 2016, and those guys are so rad. Definitely a highlight. Personally I would be so stoked to open for a pimp like Jimmy Buffet.
4) Bud Light Lime or Craft Beer?
Bud Light Lime 100%
5) Your collaged album covers are rad. Who does the art?
Addison and I both do them! They feature pretty much all photo’s we’ve taken while playing together.
6) How did you get in touch with Cage the Elephant’s Lincoln Parish? And what was it like working with him?
We just hit him up! I am a big Cage the Elephant fan so it as super rad to work with him. He had a pretty sweet spot in Nashville where we hung out for a week and made the record. Plus we could use all of Cage The Elephants sweet gear. It was a dream, and such a nice guy.
We heard from multiple sources that Tall Tree Music Festival is a weekend you must experience at least once in your life. Well, now we can say for certain that they were correct. This was one of those weekends where everything went right, where everything just fell in our laps. Here’s how it went down:
We arrived in Port Renfrew early Saturday morning, to the warmest welcome we’ve had in a long time. There were many steps we had to follow to get our media passes, but we were met with many smiles and high fives along the way. While the 2 of us representing 987 were getting our credentials, the rest of the crew went to go find us a spot to camp. (Festival tip #987: show up earlier than the second day if you want to easily find a spot to camp). The camping areas were a bit of a free for all, which may sound like a bad thing, but we found it refreshing. Our friends were walking around the grounds looking lost, but within 5 minutes they had found new friends and started a search party for any open spots. Success! One of the best parts of the weekend, other than the stellar lineup, was the making of new friends. All our neighbours quickly became our besties, even if only for 3 days. Tents all set up with the bud light limes chilled to a crisp in the cooler. We were ready to take this weekend on.
Our first musical experience started with Vancouver local Dave Beckingham on one of the side stages. It was a great way to kick off the Saturday, as we were all getting a “chill vibe” from the festival, and Dave’s music really encompasses “chill vibes.” Recently back from a European tour through Belgium and Germany, playing hits off of his 2016 album, Just When the Light…strong start, Tall Tree.
Jon and Roy were next on our to-see list. This was one of the biggest throwbacks for me as “Little Bit of Love” was one of the first songs I learned on guitar and a spark for my songwriting days. Talk about nostalgia. Jon and Roy + crew seriously brought it. Touring to support their new album, The Road Ahead is Golden, Tall Tree was one of their last stops in North America, soon to hit Europe mid-July through August to bring the Europeans a little taste of their West Coast indie rock vibes. Catch Jon and Roy at the CBC outdoor stage on Wednesday July 12th (12pm-1pm) for the CBC Nooner series(free!).
Closing off the second night on the main stage were Easy Star All-Stars followed by Shapeshifter NZ. I’m not going to admit to anything, but I assume those who smoked a little something something had the times of their lives during the ESAS set. These guys have been rocking it since 1997, perhaps longer than some Tall Tree attendees have been on this planet. Their reggae covers ranging from Dub Side of the Moon to Radiodread were the perfect soundtracks to our first sunset of the weekend. Easy Star All-Star‘s latest album release hasn’t been since 2012, when they released “Thrillah,” a reimagined reggae version of Michael Jackson’s album “Thriller,” but that has not deterred them from touring ever since.
Now, Shapeshifter…let’s just say it wasn’t as chill. Not saying that’s a bad thing, though. The drums, the bass, the crowd wasted on good times. Their set was INTENSE to say the least, but holy smokes…I loved it! P Digs‘ vocals were haunting, layered over the rest of his New Zealand born bandmates (who met in Jazz School and formed this live drum and bass group back in 1999). Their newest album, Stars (released back in November 2016), will be a great addition to your summer soundtrack, if you have one. If you don’t, here’s where you start. The crew I was with couldn’t stop talking about their set for the rest of the weekend, rightfully so. I wouldn’t usually think that drum and bass was my kind of genre, but there really is a time and place. That was the time and that was the place. We danced so hard that next on our itinerary was bed.
Day 2’s hangover was brutal! (Yes, I got drunk the night before, sue me).
I did a little exploring before all the action started up again. Took in the “million dollar” view, as they call it, while listening to Layten Kramer and Caleb Hart from the outskirts of their respective stages. All this + a little food in my belly from one of the many amazing food carts, I was ready to rumble.
A day trip to the nearest lake was next on our agenda. Not many festivals I’ve been to have this option. A dip in cold water to help with the heat was necessary.
Back to the festival we went. The name of the next event was “Champagne and Floatie party” with Illvis Freshly. It was exactly what it sounds like. Floaties being tossed around while champagne was flowing and Illvis Freshly was dropping some Ill and Fresh funky hip hop beats. Nobody can get between me and my champagne!
*insert 1 hour of bud light lime drinking here*
It may not be such a big surprise, but the act I was most excited for all weekend was Tokyo Police Club. (Honourable mention to Goldfish, who did an outstanding job preceding TPC). I worked a cross-canada tour with Tokyo Police Club back in 2014. 28 shows in 42 days to be exact. This was the show I was waiting for. The icing on the cake. The best way to top off an amazing weekend that I had just experienced. They played their new shit, their old shit, their good shit, their hype and chill shit. Everything. They had me feeling some things I wasn’t expecting to feel, even though I’ve seen them a million+ times. I was fortunate enough to get backstage post show, to play catch up and give them all high fives. Before we parted ways, I obviously had to get a few words from them on what THEY had just experienced. Graham Wright (keys) gave 987 his exclusive lowdown: “We’ve played at a lot of festivals, but very few of them have been on mountains and none of them have been on mountains this nice. Somebody at the airport told me this was a “hippie festival,” which doesn’t ordinarily bode well for well oiled professionals like us, but for once it was exactly the right kind of hippie festival. The highest compliment I can pay it is to say it was worthy of the beauty that surrounded it. My only complaint is that i didn’t see any eagles, which apparently was a possibility.” So there you have it. If you don’t believe me, believe Tokyo Police Club.
We give tall tree a 9.87/10. I would give it a 10/10 but it doesn’t quite have the same ring to it.
The Wailers…if you haven’t heard of them, well, it’s time for you to do some research. It may take you weeks to catch up on their history, but it will be weeks well spent.
We were very excited to cover our first show in Toronto, and we couldn’t have asked for a better kick off show!
The night started off with the communion of a thousand little birds arriving to the Phoenix Concert Theatre, ready to enjoy and share the energy of The Wailers.
Junior Marvin (lead guitar), Donald Kinsey (lead guitar), and Aston “Family Man” Barrett (bass) were still rocking the stage like it was 1979. What an honour to catch these 60+ year olds in action, as well as the rest of the band. The whole package really made a memorable night for the 1000+ concert-goers that night.
The sing-alongs were strong this night as we sang to forget about a hard day’s work with some tunes like Is this Love, Three Little Birds, One Love, and Buffalo Soldier. There were moments of pure happiness, where we were oblivious to anything else in the world, bliss. Musicians and the audience united in rhythm to become one heart.
Tears, Beers, Smiles, Screams, it was an emotional and unforgettable night.
If you’re trying to get me interested off the bat, turns out 80’s Las Vegas neon lights and a well groomed mustache will do the trick. First impressions are real, people, and this one had my eyes watering.
Where I would normally find such a boisterous backdrop confusing, I can’t actually remember if the palm tree kept flashing once lead singer Jason Couse stepped out and began the performance with “Studio City.” What could have been an overpowering stage was quickly rationalized when The Darcys stepped onto it.
Couse’s immersion in the beat combined with Wes Marskell smiling like a kid on Christmas got me on the bandwagon quick. Seemingly able to do it all, they interchanged between guitars, drums, and keyboard. Even a glow in the dark tambourine made a guest appearance. All this while boogieing around the stage, making eyes at each other, jostling plants out of the way, gliding from one hit to the next – the whole time holding us in their Hawaiian wonderland.
Their sound is original to the point that it’s instantly recognizable, but not so much that (like so many artists these days) it felt played out. I didn’t realize how amped up I was getting with each successive song – during the bridge of “Black Diamonds” I had to remind myself to glance around, checking on the crowd to make sure I wasn’t the only one bopping around ridiculously to their techno rock jams.
The Darcys have an apparent comfort on stage. It made me wonder whether this came from their 10 years honing their sound together, or just from their undeniable bromance. Either way, these two could sell their palm tree clad shtick to anyone watching them do their thing.
The show’s icing on the cake was served in the form of two covers (as if their original set wasn’t good enough). Giving the all-knowing crowd exactly what they were hollering for, we got a fitting Prince-gone-Darcys rendition of “Kiss.” Then, to sum up the night, came Foreigner’s “I Wanna Know What Love Is,” which felt like their perfect goodbye. As the crowd joined in with Couse, it suddenly felt like we were a drunken mob swaying with our arms around each other, singing a throw back tune. Then, as all the background beats fell away, leaving only Couse and his guitar, my final feeling was of being serenaded by the coolest guy in at my school.
Nestled in the heart of Pemberton, on a farm at the base of Mount Currie, Rise and Shine Festival kicked off the summer season with a bang.
DJs, blue skies, great pals, camping and dancing pretty much sums up our experience. Doesn’t sound too bad, eh?
Not only did this one-day festival host some amazing local artists (Funk Hunters, SkiiTour, Average-Gypsy + many more) but it was also a great way to get over the recently cancelled Pemberton Fest (pour one out, RIP), which was set to happen across the road! To top it all off, all proceeds went to The Rise and Shine Foundation. We partied for a cause, so our hangovers were well worth it.
Admittedly, by the time we were #blessed by the presence of The Funk Hunters at 11pm, things were a bit blurry… Hydrating yourself with beer in 30-degree weather can do this to a man, but hey, these are signs of having a blast!
The only thing we were sad about is that it was only 1 day. We’ll see you there next year, 10/10.
The entrance to The Imperial is unassuming but holds some tell-tale theatre markers like a double wide lot, arched windows recalling a time when it held true to original intent, and a permanent awning, “Imperial” spelled out in bold gold lettering, with smokers huddling in conversational packs underneath. It’s a site of shared experiences and has been in both iterations, as theatre and venue. Everyone who saw Com Truise and Clark take the stage below the terracotta figures lining the walls of The Imperial connected to something. Something called dope IDM which mind-controlled the audience for the better part of two hours and change.
Com Truise opened the show with his trademark soaring synths and pulsing drums. Relying on tradition to form the skeletons of his song, Com Truise builds a musculature unlike anything that’s come before. With a set of screens splashing colours in the darkness behind his mixers, pedals, and drum machines, the attendees was treated to a taste of the 80s updated and remade for a modern audience. Comfortable and solid beats created a layer on top of which the flourishes of a talented artist took full hold. The crowd swayed to the soaring synths, pausing at intervals when Truise intended a moment of reflection and anticipation. In those moments, most eyes were held intently on his bobbing head, some were closed, belonging to swaying skulls, and others were glancing around, taking in the shadows of terracotta soldiers, the couple kissing in the corner, the friends eagerly discussing what’d just happened and predicting what’d come next. It wasn’t unilaterally responded to, but in a way, this is how Com Truise’s music is structured. Warm textures and soft harmonies elicit a state of mind, but how that mind relates to the scene depends on one’s company. What was clear about the set is that everyone got into it in their own way, sharing the space in the middle of a riff.
Then, Clark. The veteran of heady electronica has consistently delivered a tailored product, suited to particularities of the artist’s life, and has dabbled in hip-hop, folk, dance, and heavily abstracted electronic stuff that seems to defy classification. All these elements have found themselves explored in album format, like the folky “Iradelphic,” or the hip-hop influenced “Body Riddle,” but what has unified them is Clark’s intense dedication to a product which involves the ears throughout. I have never been bored by a Clark track, and while I prefer the more abstract stuff, the album this show was promoting, “Death Peak,” was the perfect material for the crowd. After a mostly slow and swaying set from Com Truise, Clark brought the heat, making bodies sweat as feet thumped and spines waved, arms wobbling in strange patterns as the music infected our bodies like an audio-physical virus. Symptoms include dancing and grins. Often shrouded in a cloudy haze of smoke, Clark kept tweaking and re-tweaking his settings, concerned entirely with the shifting landscape of sound and how to get it just right for our ears. There were moments of pause, of recollection, but mostly, the dude just got us moving. At the end of the night, people gathered underneath the Imperial awning, idled by the vans, smoking cigarettes and chatting with roadies, and the artists hung by the doors, backs against the wall, talking with fans. Their approachability made the night more special because it seemed like talking with peers, not holy men come from on high to disperse the gospel. My girlfriend even talked with Clark about veganism for a solid ten minutes, and I wasn’t sure who I was more jealous of.
Basically, check their stuff out. As mentioned, Clark’s released a new album, “Death Peak,” and it’s a compelling listen well worth your time. Com Truise, for his part, is scheduled to release his new album, “Iteration,” next month, and if the show was any indication, your ears should thank him now.
Out here in the Lower Mainland we breed a ton of talented bands and musicians. There are way too many to give shouts to, but if we had a gun to our blog and were forced to pick a local fave, Gob would take the cake. Sounds like a joke, but it ain’t. Listen to “I Hear You Calling” and tell me I’m wrong.
Tied amongst a few others, for a very close second: The Zolas.
I first met Zach Gray (vocals/guitar/v good looks) at a house party back in 2009. When I say met, I mean I admired him from a distance (I usually leave that part out of the story). He had come straight from the studio with The Zolas’ first album, Tic Toc Tic, in hand. This was around the age where I saw these local bands as gods, so believe me when I tell you that the feeling I got when we all heard a sneak peak of their debut-album-to-come, was pure ecstasy. I’ve been addicted ever since and seek no help – the first step is admitting it.
The core of the band consists of Zach and Tom Dobrzanski (piano/v good looks also) but they have other musicians supporting them on the back line while performing live and recording.
I’ve seen The Zolas more times than I have fingers and yet I still find myself at all of their live sets. They performed at The Vogue Theatre, early April, to close their Canadian Spring tour and let me tell you…it was definitely in the top Zolas performances I’ve ever seen. This could be because I love each and every track off their newest album, Swooner. Or because they played some old faves that I haven’t heard live in years. Perhaps, more likely, because I had the perfect amount of alcohol as to not black out but still drunkenly sway to the beat of the ever-beating drum. We’ll call it a combo. We were fortunate enough to be able to photograph the set for the blog, so thanks Live Nation 🙂
Swooner, released just over a year ago, is well worth the listen from top to bottom. It may even inspire you to catch them open for Two Door Cinema Club on April 18th at The Orpheum. From the catchy upbeat synth pop tunes like Molotov Girls and the title track Swooner, all the way the stripped down Why Do I Wait (When I Know You’ve Got A Lover).
Mik and I caught Andra Day on the Granville Strip last night. Remarkable show; super glad I went, despite the fact that I hadn’t heard her name before, learned it off the sign above the Commodore Ballroom’s box office roughly 9.87 minutes before she took the stage. Was fully under the impression that Mik had said “Andrew” on the phone.
Andra Day bantered a lot. One of the things that caught our attention was “This is a conversation: we’re not just up here singing for you.” With that sort of thinking she encourages audience engagement, reminding us about our role in making meaning of the music.
This kind of attitude to art is democratic. She introduced her cover of Simone’s “Mississippi Goddamn” by calling for a reopening of nonpartisan dialogue in the wake of Trump’s election.
The Commodore was nice enough to offer Hannah Robertson (Torben’s sister) a free ticket to the show. Was it because of our good looks or wry charm? Probably both; but Hannah was “too tired” to attend.
Day certainly brought it for the last stop of her tour. See our pics as evidence. Maybe the vocals were mixed a tad too loud, and the keyboard too quietly, but nonetheless her performance was emotionally impactful.
c u all (minus Hannah Robertson) on the dancefloor of emotions.
