In a magnetic performance, the soulful singer proved she is indeed the daughter of comedian Rob Schneider.
Music, Published on Thu Jun 04 2015
Elle King At the Drake Underground, June 3.
The great aspect of seeing an act in concert is that albums sometimes only reveal so much.
If you picked up Elle King’s Love Stuff, for instance — even if it’s only because you were impressed by her radio airplay earworm “Ex’s and Oh’s” for its bouncy yesteryear rhythm, King’s soulful rasp and the song’s catchy refrain — you’d be getting less than half the picture.
As she proved at her Toronto debut at the Drake Underground on Wednesday night, King is so, so much more than what you hear on record: she’s a ribald spitfire whose performances are brimming with so much personality that you wish she could bottle it and dispense amongst the crowd.
Part of the attraction is that King has a flair for comedy, a natural part of her DNA due to the fact that her father is ex-Saturday Night Live comedian Rob Schneider. Some of the physical mannerisms she displayed in common with her dad — a head bob here, a smirk there — proved that she is indeed her father’s daughter.
But that’s where the comparisons end: King has a much filthier mouth and more of an unrepentant, devil-may-care attitude than her father, and both are as charming as they are charismatic.
Taking to the Underground stage with her incredibly disciplined four-piece band, King introduced her opening song as being about “an idiot” who dumped her, and immediately endeared herself to the packed house of about 400 as she tore into “I Told You I Was Mean.”
She described her next song as a result of “an idiot who told me he was in love with me the first night we met” and performed the hilarious “Good To Be A Man,” from her 2012 eponymous EP, singing her heart out with an electricity that hasn’t been captured by her in the studio.
Then she switched her guitar for banjo, and started to get into some of the more incisive numbers that speak of the pains and woes of romance and the vulnerabilities therein, softer songs like “Song of Sorrow” and “Make You Smile.”
But when the pace picked up, she went for the throat with each song she sang, her voice filling the hall with a might force that again has yet to be captured by a studio. “Where the Devil Don’t Go” and “Under the Influence” were burning, passionate numbers that shook the Drake’s foundation, and the first of two cover songs, “Oh Darling,” found her wandering into the audience, hamming it up and adding a torchy aspect to the song that transformed it into her very own.
The second cover was song was saved for the encore: a raunchy Khia number about oral sex called “My Back My Neck” that had the women in the audience howling with glee.
Make no mistake: Elle King is not a choirgirl, nor does she pretend to be, and that’s what makes her so mesmerizing — she could care less what people think of her.
Elle King returns to Toronto for Edgefest on a shared bill supporting Milky Chance, but trust me, you’ll want to get there early enough to catch her set.
The band’s return to the ACC finds the usual frenetic energy somewhat lacking, owing to less anthem-y new songs and a very chatty Chad Kroeger, though the execution of the set was technically flawless.
Music, Published on Mon Feb 23 2015
Nickelback 2.5 stars At the Air Canada Centre, Feb. 22.
Nickelback has changed its performance tactic.
Once a combo that used all the bells and whistles available at its disposal with somewhat reckless abandon, the B.C.-based hard rock quartet showed unexpected restraint with the special effects at its Air Canada Centre performance Sunday night.
Explosions? Not a one.
Fire . . . okay, there was some pyro, but its inclusion seemed more of an afterthought to the three or four songs for which it was employed.
Switch them on.
Switch them off.
No, the Chad Kroeger-fronted foursome (occasionally boosted by one member with the sporadic appearance of third guitarist Tim Hay), performing in front of a half circle-shaped projection screen and a light show that wasn’t anything to write home about, decided instead to focus on two traits: personality (Kroeger’s) and music.
And I never thought I’d say this about a Nickelback concert, but I missed the bombast.
Perhaps the thunderous detonations and unexpected bursts of flame added an illusion of intensity and energy to the proceedings in previous tours — this is my third go round with the rockers — but the razor edge that gives the band that additional power boost seemed a little dulled without them.
Some of the lack of dynamism might also be the result of a few developments: firstly, the band’s eighth album, No Fixed Address, finds songwriting genius Kroeger misplacing the Midas Touch that has sold over 50 million albums as he stretches into new territory: the political “Edge of a Revolution,” with its calls for change, and “She Keeps Me Up,” a funky, almost disco-ish number.
While he should be applauded for trying to expand his horizons — Nickelback detractors often accuse him of repeatedly writing “the same song” over again — these songs don’t offer the same staying power as the naughty “Something in Your Mouth” or the country-flavoured ballad “Photograph,” both which drew wild cheering and applause from the estimated 15,000 in attendance.
The other change is front man Kroeger’s comfort level with his audience. Talk about casual: Kroeger was a regular chatterbox.
“It’s so great to be playing a rock ’n’ roll show on Canadian soil,” he bellowed after the opener, “A Million Miles an Hour,” a song noted for the disciplined rhythms dispatched by the anchoring tandem of bassist Mike Kroeger and drummer Daniel Adair.
“It’s fr*#$% cold Canadian soil, but we can handle the weather.”
The disarmingly frank and funny Chad Kroeger dialogue didn’t disperse after the first few numbers; it carried on for the entire show.
“Since this is a Nickelback show, there will be vulgarity,” he joked at another point, projecting an earthy persona that the audience just lapped up.
The relaxed informality again translated into a subtle loss of energy, although the execution of the show’s 19 songs — Silver Side Up’s “Too Bad” and a somewhat listless “How You Remind Me,” All the Right Reasons’ “Rock Star” and Dark Horse’s driving “Burn It to the Ground,” a solid choice for encore if there ever was one and one of the evening standouts — was technically flawless.
So yeah, it was a regular campfire gathering, even with a handful of covers thrown in, including an Eagles sing-along for “Take It Easy” and the first verse and chorus of “Hotel California.”
For all the Nickelback hits that could have been included — “Feelin’ Way Too Damn Good,” “Never Again” and “Lullaby” among them — it made you wonder why precious concert time was given to meaningless covers like Led Zeppelin’s “Moby Dick” or Foo Fighters’ “Everlong,” the latter sung by Ryan Peake.
Oh, there was one constant from the old Nickelback days: beer.
The old tradition of flinging quarter cups of beer into the audience still gives Nickelback that blue-collar aura that it does so well.
Maybe that’s the secret . . . the drunker one gets, the faster they sound.
Either way, fans in general were thrilled to the point of delirium with how Nickelback reminded them that rock ’n’ roll in general is one big, escapist celebration — even without the explosions.
Toronto musician plays R&B at the Horseshoe one night, partakes in folk festival the next.
Music, Published on Thu Feb 12 2015
Julian Taylor is used to shaking it up.
For example, those headed to the Horseshoe on Saturday night will experience the full electrifying and soulful R&B glory of the eight-piece Julian Taylor Band as they perform songs from their acclaimed album Tech Noir.
On Friday and Sunday, you’ll find Taylor doing the solo singer-songwriter thing at the Irish pub Dora Keogh, partaking in the annual Danforth-centric folk fest Winterfolk XIII (David Essig, Jack de Keyzer, Lynn Miles and Hotcha! are among the headliners) and showing off his acoustic guitar chops.
Source his former band Staggered Crossing on YouTube to hear his rock edge.
Taylor is quite the chameleon.
“I can do many things,” he says. “Tech Noir is a rock soul record with which I think I’ve found my niche, but I like writing campfire songs and playing acoustic guitar just as much of that.
“It’s great to be versatile. Over the past couple of weeks I was part of the Gordon Lightfoot tribute at Hugh’s Room and I was also part of the global (Bob) Marley (70th birthday) tribute last weekend. So I get to do a lot of things.”
Taylor said the public’s modern and varied music tastes have allowed him to branch out accordingly.
“The general public has been exposed to so much stuff culturally — music, art, literature — that nowadays they’re way more open.”
The 36-year-old even points to his 3-year-old daughter Ella as “a barometer” of taste, saying she breaks out into spontaneous dance whenever she hears something she likes and will barely react if she hears something she doesn’t.
“When I was recording Tech Noir, I had a lot of friends listen to it, but it was mostly my daughter who told me if it was good or not,” he says. “If we could dance in the living room, then it was working.”
His latest song off Tech Noir, “Be Good to Your Woman,” has evolved into a campaign Taylor said is designed to “spark the conversation about trying to stop violence against women.”
He’s inviting everyone to submit a video to begoodtoyourwoman.com to share positive stories about their relationships and the respect with which people should be accorded.
He’s also pledged $2 from the sale of every copy of Tech Noir to the Canadian Women’s Foundation in honour of the cause.
In the meantime, Taylor, whose songs have been placed in such TV shows as Haven and Elementary, says he will be previewing new material for the Horseshoe Tavern crowd, and is grateful for the support radio outlets like the CBC have given his music.
“What Tech Noir means to me is ‘black future,’ he says. “I wanted to take the feeling of black music in the past and create something new and fresh, yet old, and I think we basically accomplished that.
“Folks that have heard it seem to like it, so I’m not complaining.”
Jill will showcase material from Fool’s Gold, while Matthew has new album Big Romance
Music, Published on Fri Nov 14 2014
Jill Barber has been waiting for this.
When the 34-year-old singer and songwriter takes to the Massey Hall stage on Saturday night as headliner, it will be the crowning achievement thus far of a career that has taken the Port Credit native through numerous styles, seven albums and three continents.
“It’s huge,” said Barber of her appearance at the 120-year-old venue.
“On Saturday night, there will be three big events in my life that are standouts: getting married, having my baby and performing my own show at Massey Hall. It is beyond my wildest dreams, which is an incredible feeling. I really think, when I was a teenager growing up in Port Credit, of being a musician, that playing the Rivoli felt like that would be the pinnacle, so to be invited to play onstage of Massey Hall is a great honour and I really feel it. I feel it a lot.”
Making the occasion even more special will be her warm-up act, her older brother Matthew Barber, a potent singer and songwriter in his own right who has eight albums to his credit, and the one who inspired her to follow her musical dreams.
“It’s totally a dream come true,” says Jill, who will perform material from her latest collection, Fool’s Gold. “My parents, who will be in the audience, what a big night it is for them. It’s a family celebration, obviously with my family, my parents, my brother and I, also with my musical family: my band, the label and all of the people that I work with on a daily basis. It’s a celebration for everybody. It’s not the size of the room, it’s the prestige and the fact that we all got here together is something that we’re all celebrating.”
Matthew, who’s pushing his own new album, Big Romance, has previously experienced the awe factor of the Massey stage.
“I’ve played there as a drummer with Doug Paisley when we opened for Jim Cuddy once and I know that when you’re up there the time flies rather quickly. You’ve got to take a minute to stop and savour the moment, so I’ll do that.”
Produced by the Jayhawks’ Gary Louris, Big Romance offers more of Matthew’s predilection for strong, pop-hooked melodies that are both personal and potent; something he felt was strengthened by Louris’s presence.
“I was aiming for a classic sounding album,” says Matthew. “I’m a huge fan of Gary’s songwriting and the Jayhawks, and I wanted to bring him in to help us craft an album that’s interesting from beginning to end but has classic sensibilities and also some hooks. There’s really no more of a conceptual angle than that.”
Aside from “On the 505,” which is a song concerning the Sammy Yatim streetcar shooting last summer, and “Magic Greg,” an ode to one of Matthew’s late friends, Barber says the remaining eight songs on Big Romance are deal with “existential issues that I’m always interested in, or issues of science and nature and making sense of the world, or just issues of the heart and the emotions that go along with love and relationship. That’s my usual terrain for songwriting.”
But not his only terrain: Barber will also provide the music for the new John Patrick Shanley play A Woman Is a Secret, premiering at Toronto’s Theatre Centre on March 20.
It’s not the first time Barber’s dabbled in theatre; he finds scoring for plays refreshes him when it comes to penning material for his records.
“It’s a nice diversion. I think it’s kind of a breath of fresh air to keep the songwriting wheels turning, but having these set parameters to contend with where you’re writing for a particular show or writing for particular characters is a nice, different way to work. So when I come back to writing my own material for my next record, it’s fresh.”
He also revealed he’ll be cutting a duets album next year with Jill, whom he calls “amazing.”
“I’m very proud of and inspired by her,” says Matthew. “She’s really crafted her own sound and her own esthetic package, for sure. She experimented with some sounds and has found a style that really works for her.”
Central to that sound is Jill’s plush, torchy voice, described by the authoritative All Music Guide website as a “mid-century blend of little-girl timbre and orotund vowels,” and suited to the jazz-influenced songs that she’s written for Fool’s Gold, some of which sound like a throwback to yesteryear.
It’s been a journey of stylistic twists and turns for Vancouver-based Jill, who began her career with more of a folk esthetic on her first two EPs and 2006’s For All Time before switching directions and being embraced by the jazz community for 2008’s Chances.
Barber said her writing style evolved accordingly once she left her guitar out of the process.
“The way I write songs most of the time these days is a cappella,” says the bilingual Jill, who also released a collection of French-language covers last year called Chansons.
“So it’s really just my voice. I’ll take a little demo recording of me singing a cappella to one of my band mates and they will help me create the music underneath it, so my vocal melody is always the first thing that is written, along with the lyric.
“Back in the day I wrote with my guitar at the same time. But because I’m not the world’s greatest guitar player, I started to find as I started to explore jazzier vocal stylings it became harder for me to accompany myself. So when I put down my guitar, I could sing any melody and was free to let my voice lead the way.”
Jill says she’s always felt a deeper connection to older music.
“Back in university, I would go to the local record shop and thumb through the old dusty records. I would essentially pick out the records that I thought had cool record covers, and I’d take them home and I’d listen to them. There was something about this old jazz, these old standards, and the way these men and women delivered these songs that, to me, instantly felt like a soundtrack: this beautiful, whimsical, romantic experience.
“So I think that when I’m writing, it doesn’t matter what style I’m writing in, I’m trying to write music that is timeless, that might be old but hasn’t aged.”
Massey Hall concertgoers will receive a generous taste of these contemporary “vintage” originals, as Jill says she’s employed a three-piece string section, a three-piece horn section, backing singers and hired a special lightning designer for the show.
“We’re gonna go to town!” she declares. “My two Fool’s Gold producers — Drew Jurecka and Les Cooper — have been working tirelessly on arrangements just to put this show over the top. We’re pulling out all the stops that we know how to pull out and it’s going to be really special.”
New touring circuits, more cash and ego spark musical reunion craze.
Music, Published on Thu Nov 20 2014
With the imminent return to Toronto of acts like Moist and The Tea Party after lengthy hiatuses, reunion fever is running high.
While it isn’t necessarily a new trend, many domestic and international acts are mending fences in 2014 and flaunting new leases on life.
Whether it’s the recent return of Christine McVie to the Fleetwood Mac fold, Queen resurfacing with Adam Lambert or the Spandau Ballet reunion that hits Toronto in February, there are common denominators explaining a band’s decision to get back together, including new touring circuits and better cash for bookings, says veteran music industry observer Larry LeBlanc.
“Nowadays the casino business is a huge business and it loves the heritage acts,” says LeBlanc, a senior CelebrityAccess writer. “In some cases, those groups end up making more money today than they made back then. At the same time, the money being paid today is astronomical from what it was.”
But LeBlanc says the motivating factor to reunite may be a simpler one: ego.
“It all goes back to nobody wants to go work in a hardware store,” he laughs. “I’m serious. Once you’ve been in the spotlight, and the spotlight may get smaller and smaller, but to be removed from it is very unnerving.”
Homegrown acts Moist and The Tea Party are returning after absences of 13 and seven years, respectively, and with new albums.
For Moist, which performs at the Danforth Music Hall Saturday night on the heels of its new Glory Under Dangerous Skies, the reconsolidation came following a get-together for drinks in 2013.
“I started do to solo projects and I got drawn away by all sorts of different things,” singer David Usher, who has released seven solo albums, said Tuesday. “Everyone else did too, which in my mind is a very natural thing. You want to try new things as an artist at a certain point.
“But we’ve remained friends. Kevin (Young, Moist’s original keyboardist) plays in my band, and then every year we’re having a drink and it always comes up that we should play a show. Last summer was the first time when everyone said, ‘Yeah, let’s play a show.’ Then that turned into six shows over Christmas.”
Those six shows featured original members Usher, Young, guitarist Mark Makoway and bassist Jeff Pearce, along with newer members Francis Fillion on drums and second guitarist Jonathan Gallivan. Pearce has since dropped out and been replaced by bassist Louis Lalancette.
According to Usher, whose band burst onto the Canadian scene with the driving hit “Push” and the bestselling album Silver, the concerts and favourable fan reaction sparked the desire to reconvene for recording and touring, which demanded more of a commitment than Pearce was willing to give.
“It was kind of an unspoken thing that we just naturally wanted to get back into the studio and write together again,” says Usher. “After the Christmas show, we did four days of writing in Montreal and the songs were coming so quickly that we really felt that we were coming into a record cycle. When we started talking about going back on the road, that was more than Jeff was really up for. He’s got a young family. He still remembers that this band tends to take over your life.”
Windsor’s Tea Party, performing at the Kool Haus on Nov. 27, reunited in 2012 with original members Jeff Martin, Jeff Burrows and Stuart Chatman, and has already issued a live album of its Australian tour
They spent the better part of 2014 in Australia — nowadays singer, guitarist and songwriter Martin calls Perth home — and Toronto’s Revolution Studios recording The Ocean at the End, their first studio album since 2004’s Seven Circles.
Speaking on the phone en route to a Halifax gig, Martin said the band members entered their hiatus acrimoniously, but missing friendships and the urge to create paved the way for their reunion.
Their motivation to reconnect was “the fact that we couldn’t stand to be away from each other anymore or the music that we’ve made or the music that we could make once again,” says Martin.
“I think that the three of us as individuals did a lot of maturing and soul-searching during our seven-year hiatus. At the end, we really couldn’t have been further apart. It just didn’t feel like the band anymore. It was too many cooks in the kitchen and I wanted that Tea Party back that was of the era of Edges of Twilight/Transmission where we were just firing on all cylinders, when I was the captain of the ship and that was it.
“It took awhile for us to come back to something like that, but we certainly have it now. It’s great.”
Martin says that unlike many bands, economics weren’t a factor in the Tea Party reunion.
“It’s the work ethic, the love of making the type of music we can make,” Martin explains. “The Tea Party is a pretty successful band; we don’t need the money. We’re not doing this for anything else except for art. We did the record on our own terms, made the record we wanted to make and now the three of us are just having a blast.”
Toronto duo largely responsible for lifting the veil off “the most sought after and mysterious recordings from the post-nuclear, pre-digital era.”
Music, Published on Wed Nov 05 2014
Sitting at Johnny Rockets, a ’50s-style burger joint in Yonge-Dundas Square, my dining companion pulls out a cardboard envelope and hands it over.
“Open it up and have a look. Have a little whiff,” he insists.
Inside is a box containing a reel of recording tape, inscribed in marker with the following song titles in order: “You Ain’t Going Nowhere,” “Any Day Now — I Shall Be Released,” “If Your Memory Serves You Well,” “You Ain’t Going Nowhere” (Take 2 is written beside it in pencil), “I Shall Be Released” and two separate takes of “Too Much of Nothing.”
It takes a moment to sink in and realize what I’m actually holding: an original Basement Tape, one of the more than 20 reels recorded by Bob Dylan and the majority of Toronto legends The Band when Dylan was convalescing in Woodstock, N.Y., following a 1966 motorcycle accident.
How do I know it’s an original?
Because my dining companion is Toronto’s Jan Haust, Canadian music archivist, current curator of the Dylan-driven collection, and primarily responsible for the release earlier this week of The Basement Tapes Complete, a lavish six-CD set issued by Sony’s Legacy that finally lifts the veil off what Haust calls “the most sought after and mysterious recordings from the post-nuclear, pre-digital era.”
He’s not kidding. Music fans have been waiting nearly half a century to hear these recordings: 138 takes of 115 songs, all of them recorded informally throughout 1967 by The Band’s Garth Hudson, mostly in the cramped Woodstock-area basement of the abode known as Big Pink.
Every note of such future Dylan-penned classics as “You Ain’t Going Nowhere,” “I Shall Be Released,” “This Wheel’s On Fire” and “The Mighty Quinn;” covers of well known and obscure songs like Hank Williams’ “You Win Again,” Ian Tyson’s “Four Strong Winds” and Johnny Cash’s “Belshazzar” has been lovingly restored and digitally remastered in Toronto by Haust and renowned Cowboy Junkies engineer and producer Peter J. Moore.
Prior to this week’s releases (there’s also a two-disc Sony edition of highlights called The Basement Tapes Raw), fans had received a limited taste of the Big Pink sessions, including the official 24-song The Basement Tapes and a few tracks that have surfaced since, mostly notably “I’m Not There” from the 2007 Todd Haynes film of the same name.
The Basement Tapes sessions were significant for a number of reasons.
First, the relaxed atmosphere of everyone crammed into an intimate space allowed Dylan (who performs at the Sony Centre on Nov. 17 and 18) to explore another songwriting direction, which was a little more laidback and humorous.
“What was going on for the most part, pretty basic,” recalls Hudson, who set up the basement with microphones, a recorder and a mixer, in a separate phone interview.
“He (Bob) would write the song upstairs, couch and coffee table, then take it down and we would play it, and usually, not even run through it once. We’d do the introduction and then a bit of the song and then I would put the machine on record.”
Some argue it may have been the birth of alt-country, but a bigger significance is that it completed a musical coming of age.
“It’s where it all ended up coming together,” notes Haust. “And that’s the fascinating component here. The basement is the incubator of what became The Band.”
For Haust, the release of The Basement Tapes Complete marks the end of a 12-year journey for him and Moore, the engineer. The duo first heard the tapes, through an arrangement via Haust’s friendship with Hudson, when Robbie Robertson was assembling 2005’s The Band box set A Musical History.
“Some of the tapes were in rough shape, through no fault of Garth Hudson’s and through no fault of anyone’s,” Haust recalls.
Several reels were mouldy and Moore had to delicately unwind and re-spool some 1,800 feet of “very, very thin” reel-to-reel tape by hand on a few others to “flatten them out.”
There was also a bigger challenge: all the songs were recorded on a rare quarter-track machine with such poor quality tape that Moore didn’t have the equipment for proper playback, let alone restoration.
“These tapes were never meant to be heard by the public,” said Moore in a separate interview. “These were sketches — the jotting down of ideas. So the tape’s speed was 7½ inches per second, where most of your quality pro recordings are at 30 or 15 inches per second. I told Jan, there’s no such thing as a professional quarter-track machine.”
So Moore had to get a playback tape head custom made for his own equipment and found a New Jersey manufacturer who had the expertise to make it. The request was so rare that the manufacturer, Jim French, had only built one prior to Moore’s request.
The buyer? Neil Young, known for being quite persnickety when it comes to technical recording tools.
“Once I heard that, I knew I was following the right logic,” Moore says.
When Dylan’s manager Jeff Rosen and Sony Music finally commissioned Haust and Moore to assemble The Basement Tapes Complete, the duo huddled in Moore’s studio from March through September, deciding to follow Garth Hudson’s original lead and sonically restore what was going on in the basement.
“We kept the integrity of what Garth envisioned,” says Moore. “I didn’t add reverb or anything to these tapes. I’m phase correcting — not changing the picture, just realigning the lens.
“But when you realign the lens, all of a sudden you have that much more depth of field. I phase corrected a lot of the tapes and suddenly the bass appears. You’re actually hearing the bass for the first time — Rick (Danko) and his lovely melodic glissandos and everything he’s doing on that bass.
“Whereas on the bootlegs, there’s no top end, no bottom end, just more of a whiny mid-range. I’m bringing it into focus.”
The sound is immaculate, even impressing the man who commandeered the original tape recorder, Garth Hudson.
“I remember the sounds very well, the background sounds and the instruments,” Hudson says. “What we have now is clarity. It was a lot of work on Jan’s part and Peter Moore with his incredible talent. The voice is more alive. It’s clearer. And Peter has also assembled and revived tape that has been crinkled, stretched. So it’s been a big process.”
Now that The Basement Tapes Complete has finally seen the light of day, Haust and Moore have one more ambitious project in mind: an eight-CD, DVD and book box set chronicling Levon and The Hawks, dating back to their individual pre-Ronnie Hawkins musical pursuits in the late ’50s.
In the meantime, Haust will savour the arrival of The Basement Tapes Complete.
“I’m pleased as punch that we were able to put it together,” says Haust.
“This is the first time ever that a Bob Dylan project was produced in Toronto. That’s very significant. It’s four Canadian rock ’n’ rollers and an American folksinger. Now we’ve set the record straight. . . .
“We have cleaned up these recordings. We have repaired the damaged tape. We have treated these 47-year-old recordings like the archaeological gems that they are.
“This isn’t the Mona Lisa. These are the sketches.”
In concert at Massey Hall on Thursday, The Pretenders founder seemingly hasn’t aged a day since 1978.
Music, Published on Fri Oct 31 2014
Chrissie Hynde 3 stars At Massey Hall, Oct. 30
Dorian Gray, eat your heart out.
Anyone attending the opening night of Chrissie Hynde’s Stockholm tour at Massey Hall on Thursday night could be forgiven for doing a double take and wondering where exactly she’s hiding the painting: The Pretenders founder’s birth certificate may read 62 years, but it’s clear the Akron, Ohio, native hasn’t aged a day since she first kicked out the jams back in 1978.
“You’re so hot!” yelled an admirer from one of the upper balconies early into her 90-minute set, and you really couldn’t belabour his point: the incredibly svelte Hynde stood centre stage, decked out in full rock ’n’ roll regalia of blue necktie, black vest, jeans and a pair of leather boots that stretched to just above her knees, beaming as she surveyed the adoring crowd.
And if rock ’n’ roll has indeed proven to be the source of her fountain of youth, that ageless glow that illuminated Hynde’s skin also extended to her classic Pretenders songs and her husky voice, as both rung with authority and vitality. Joined by a four-piece band that included the current Pretenders lineup of guitarist James Walbourne and bassist Nick Wilkinson, Hynde turned back the hands of time with a performance that ensured she has lost none of her wallop.
But it did take her a while to get there.
After the lights dimmed, Hynde stepped out on stage and started out with “Don’t Lose Faith,” a snorer of a ballad from her new solo album Stockholm, before veering into a lukewarm blues number called “Biker.” Maybe they’re actually better tunes, but the sound technician was still twiddling knobs and adjusting levels as the guitars blared and drowned much of Hynde’s initial vocals, so you’ll have to pick up the new album to find out.
The first four songs, all new ones, were blasé enough to make one wonder if this was going to be a long night.
But that all changed once the first Pretenders song emerged — an edgy “Talk of the Town” that revealed a nicely gelling chemistry between all five musicians — as Hynde and her band shifted out of neutral gear and the momentum began to swell.
The real turning point came with a gritty rendition of “My City Was Gone,” as the gifted Walbourne’s sinewy handiwork on guitar in terms of handling both solos and complementing Hynde’s strum jacked up the song to a new level of intensity.
This happened again with “Night in My Veins,” another thrilling number that spirited Hynde and her gang into peak form, with a good portion of the crowd on their feet and dancing in their seats as old favourites like “Don’t Get Me Wrong” and “Back on the Chain Gang” continued to maintain the flow of high energy.
It should be noted that there were only two tragic occurrences.
The first is that there were way too many empty seats for a woman who is one of rock’s most astute songwriters, an artisan whose topics, even when it comes to love or urban decay, have always offered a provocative and profound perspective. The Massey crowd still delivered a healthy showing of around 1,800-1,900 music lovers, but the place should have been packed.
The other tragedy? That although Hynde and company pulled practically every Pretenders number one might want to hear — including “Precious” and the Kinks’ “I Go to Sleep,” the one she omitted was the biggest of them all: “Brass in Pocket.”
So everyone was left hanging, receiving the cake without the icing, leading one to hope that if she comes this way again, Chrissie Hynde will right the wrong and make sure she plays all the hits next time . . . Hyndesight being 20/20 and all.
Postscript: During the show, Hynde told the crowd how much she loved Toronto and pleaded with them to stop building so many condos, noting the skyline had changed abruptly since her last visit.
Music the youthful elixir that keeps Bryan Ferry rocking, with help from a stellar eight-piece backing band.
Music, Special to the Star, Published on Fri Sep 26 2014
There’s strength in numbers.
You’ll get no argument from anyone that, on the very eve of his 69th birthday, Bryan Ferry was the star attraction of Thursday night’s sold-out Massey Hall show.
But the truth of the matter is that Ferry’s stellar eight-piece band played such an integral role in elevating the occasion from a great performance into something so truly magical that they almost earned equal billing in their own right.
Not only did they keep up with and sometimes surpass the Roxy Music frontman in terms of energy over the 85 minutes of material that leaned heavily on Ferry’s art rock group past — with the occasional nod to his soon-to-be-15-album solo career — but their joyful enthusiasm alone threw enough gasoline on the fire that the singer looked like a genius for hiring them.
It all added up to an infectious, celebratory evening of great music that pleased nostalgic Roxy enthusiasts to no end, as indicated from the opening blast of “Re-make/Re-model” from the band’s self-titled debut; Ferry would delve deep and often into the catalogue.
True, guitarist Jake Quistgaard is no Phil Manzanera and saxophonist/keyboardist Jorja Chalmers is no Andy Mackay, but they certainly provided enough fresh vigour with their own interpretations that — dare I say it — the mainstays weren’t missed.
Dressed in a floral tuxedo jacket and grey slacks, the lanky and dashing Ferry relished his time feeding off the vibe as well, swaying and rocking to the groove of the music as he slid into “Kiss And Tell” and “Slave to Love” while his two backing vocalists — Bobbie Gordon and Jodie Scantlebury — put on a show of their own with their well-timed, yet seemingly free-flowing choreography.
Fuelled by the propellant of firecracker drummer Cherisse Osei’s hammering beats, and the anchored support of veteran Ferry bassist Guy Pratt, the singer, who alternated between entertaining at the microphone and taking up residence at an electric piano for songs like “More Than This,” was buoyed by the interplay. His tremolo tenor, smoother these days, sounded as strong as ever, although truthfully, the overall sound mix could have been crisper.
But there were a number of times — whether it was a slower take on the Robert Palmer hit “Johnny and Mary” that’s due to appear on his upcoming November album Avonmore, or a slightly accelerated version of Avalon’s “Take A Chance With Me” — that Ferry seemed as lost in the music as his fervent, older audience, and ageless as he rocked the house with a spirited “Love Is the Drug” or a rugged “Virginia Plain.”
He may have been romantically linked to any number of beautiful models throughout his life, but clearly music is the mistress about whom Bryan Ferry remains most passionate.
If there was any complaint, it’s that the show could have gone on a little longer.
After an all-too-brief encore of covers that paired Wilbert Harrison’s “Let’s Stick Together” with a somewhat sombre rendition of John Lennon’s “Jealous Guy” brought the house to its feet again, Ferry and his merry band left the audience wanting more.
But one gets the feeling he’ll be back as long as his health holds and, for this concert, Ferry gave the impression that music is his youthful elixir.
The musically adventurous Plant shows he is not afraid to revisit the past as long as he has something new to add to the conversation.
Music, Published on Wed Oct 01 2014
Robert Plant At Massey Hall, Sept. 30
If mother is the necessity of invention, Robert Plant is its charming uncle you never really tire of visiting.
The former Led Zeppelin frontman has never been one to rest on his laurels for nostalgia’s sake — as those who have been waiting patiently and infinitely for a reunion of his most notable band’s survivors will frustratingly attest.
He has been musically adventurous since going solo back in 1982, as documented by his side trips ranging from the Honeydrippers to Raising Sand, his Grammy-winning album of Americana duets with bluegrass songbird Alison Krauss.
But as he’s proven with No Quarter, his 1994 reunion with Zep guitarist Jimmy Page and their subsequent tour with an Egyptian music ensemble, Plant is not afraid to revisit the past as long as he has something new to add to the conversation.
That general rule remained in effect for Tuesday night’s appearance at a sold-out Massey Hall, although Led Zeppelin diehards were aptly rewarded with a set list divvied up between reworked classics, a generous sampling of Plant’s fine new album Lullaby and . . . the Ceaseless Roar and a few blues gems plucked from the catalogues of Howlin’ Wolf and Bukka White.
After Plant, still unnaturally gifted with a full head of golden grey-sprinkled curly locks at age 66, slowly sauntered up to the microphone for an understated delivery of “No Quarter,” his six-piece backup the Sensational Space Shifters — who were “sensational” in every musical sense of the word — broke out the exotic instruments for “Poor Howard.”
Gambian musician Juldeh Camara bowed the ritti, a single-string violin that sounded more Celtic than African; guitarist Justin Adams strummed the tehardent, an African guitar, and Liam Tyson began plucking the “dreaded” banjo, as Plant described it, for a bluesy shuffle that sported an exotic polyrhythmic twist, while the singer stood there, tambourine in hand and a smile on his face, as the grooves continued to percolate.
Then it was back to the acoustic-driven “Thank You,” which brought the fans, a mix of young and old, to their feet, fuelled by the stellar guitar work of lead beard Tyson and enhanced by Plant’s reworked phrasing.
One thing is for certain: Plant is aging gracefully as a singer. Whether by design or due to dwindling capability, he rarely stretches into the higher register: the bridge of “Going To California” was delivered a full octave below the original arrangement and for “Whole Lotta Love,” cleverly wrapped into a medley that included “Who Do You Love,” he picked his spots, sometimes using staccato bursts of singing rather than sustaining the note to its natural conclusion.
It’s the mark of a proud man who knows his limitations but executes them tastefully without sinking into self-parody, and a strong indicator of why there will probably never be a Led Zeppelin reunion, due to Plant’s own lofty standards.
Those standards were met time and again throughout the 95-minute set, occasionally delving into full-fledged rock, as he did with parts of “What Is and What Should Never Be,” and a standout version of “Babe, I’m Gonna Leave You,” or emphasizing the funkiness of “Nobody’s Fault But Mine,” with a Bo Diddley blues beat, or having his band pull out the bendirs — large, tambourine-shaped African drums — for a rhythmically charged “Rainbow” off the new album, a song Plant ensured “was racing up the charts past Gary Puckett & The Union Gap” and past “Burton Cummings and other ballads of the past five years.”
If there was a disappointing aspect to Plant’s performance, it was the weird set-up of dual lighting rigs at the front of the stage that seriously blocked the vantage points of those nestled in the front corners of the Massey Hall floor seats: it’s obstructive enough and seemed to add so little to the proceedings that the singer should reconsider its positioning when he plays similar venues moving forward.
Aurally, however, the show was stunning: offering energy, vitality, bursts of power and a pretty amazing band (rounding out the Sensational Space Shifters were keyboardist John Baggott, bassist Billy Fuller and drummer Dave Smith) that brought the crowd repeatedly to their feet.
By the time he wrapped with a buoyant “Little Maggie,” Plant’s performance had veered between the hypnotic and the mesmeric, satisfying the sentimentally nostalgic without pandering to the past.
Robert Plant likes to keep us guessing and the hope is that he will continue do so well into the future.
Country music band — along with opening act Sheryl Crow — delighted the wet crowd at the Molson Canadian Amphitheatre on Saturday night.
Music, Published on Sun Sep 21 2014
Rascal Flatts is something of an anomaly in the country music world.
A country pop band with Christian overtones, the core of singer Gary LeVox, his bass playing cousin Jay DeMarcus and guitarist Joe Don Rooney have never really possessed “it”: that intangible level of charisma that undeniably screams “star” whenever you look at them.
LeVox has an OK voice, a high tenor (that jumps up an octave into the realm of annoyance whenever he shouts), with both DeMarcus and Rooney taking occasional leads, and their harmonies are efficient, though not spectacular.
Yet these average Joes have enjoyed above average success since the Nashville-formed band first hit the country charts with “Prayin’ For Daylight” 14 years ago, selling more than 20 million albums, producing a relentless string of No. 1 hits and gathering a crazily-devoted fan base comprised of folks like the one who tweeted on a giant screen prior to the band’s 90-minute set at the Molson Canadian Amphitheatre on Saturday night, that he had driven 1,800 km from Labrador City to watch his musical heroes in action.
The audience consensus — and there were 9,000 or so predominantly plaid-clad denizens in the venue, with another 2,000-3,000 enduring the pouring rain to witness the occasion and warm-up act Sheryl Crow — would probably be that it was indeed worth the drive, despite the fact that the band occasionally fell short in their delivery.
But the song has always been the most important aspect of the country music medium, and Rascal Flatts certainly knows how to pick them: the ballad “What Hurts The Most,” “Fast Cars and Freedom” and “Bless The Broken Road” — all country chart-toppers — found the audience jovially singing along and filling in the gaps whenever LeVox pointed the microphone in their direction.
Except for a lacklustre “Why Wait,” a slightly shaky “Here Comes Goodbye” and LeVox’s extremely pitchy opening line of the newer “DJ Tonight,” the trio strengthened in momentum as the show progressed.
Something that separates them from the rest of the pack is their quirky charm: DeMarcus is the comedian, so he took some time to do a short shtick about the end of summer coinciding with the disappearance of women wearing Daisy Dukes shorts that the audience lapped up.
They also pulled a novel twist on the band introduction, recruiting their six backing musicians to join them in an a capella version of “Love You Out Loud” and an alternate take of Pharrell Williams’ “Happy.”
For the acoustic portion, LeVox announced he was taking a pee break and returned to the stage with Sheryl Crow, who performed her song “The Picture” and then stuck around to help the band with “My Wish.”
Speaking of the seemingly ageless Crow — looking marvellous at 52 as she did at 32, around the time Tuesday Night Music Club introduced her to the rock mainstream and multiple Grammies — she delivered a solid hour-long set in which she seemed a little livelier than in previous performances.
Also accompanied by a six-piece band, Crow delivered enjoyable renditions of “All I Wanna Do,” “If It Makes You Happy,” “Soak Up The Sun” and “Everyday Is A Winding Road” with the rock edge she’s known for, as well as a political and pensive “duet” about war with the late Johnny Cash of “Redemption Day.”
Although largely sticking with guitar, she also played a bit of keyboard, bass and harmonica, loosening up to venture out to the extended stage in the pit to slap hands with the crowd. For a woman who has been accused in the past as being a staid entertainer, it was nice to see her loose and relaxed.
The same could be said for Rascal Flatts, who ended the show strongly with their hit rendition of Tom Cochrane’s “Life Is A Highway,” and then encored with a cover of Motley Crue’s “Kickstart My Heart” before finishing with “Me and My Gang” and a thundering flashpot explosion.
Rascal Flatts may still be somewhat of a head-scratching country music enigma, but there’s little doubt that their fan base will walk to the ends of the Earth to experience them.