Country-music stalwart Brett Kissel says he’s done looking for U.S. breakthrough

Canadian hitmaker says his new album is utterly true to himself — but he’s sure it will put him on ‘big stages, big festivals and arenas’ somewhere.

Nick Krewen, Music

 

There aren’t too many artists who can boast of an appearance by heavy metal guitarist Dave Mustaine and country music legend Charley Pride on the same album.

In fact, Flat Lake, Alta.’s country music sensation Brett Kissel is probably the only one: his new album We Were That Song features both guests on separate tracks.

Margaret Malandruccolo photographer

The 83-year-young Pride contribution to the album-ending reflective ballad “Burgers and Fries” probably isn’t so surprising, considering that Kissel grew up on a steady diet of Charley, Waylon Jennings and his all-time favourite Johnny Cash on the cattle ranch that has been in his family for over 100 years.

The rock-edged “Damn!,” however is a left-field choice that the married father of two reveals stemmed from an unlikely friendship with the Megadeth founder.

“I couldn’t believe that Dave offered to play guitar,” Kissel said recently at a downtown Starbucks. He returns to the city for two performances, including a matinee, at the Danforth Music Hall on Feb. 17.

“We were in Scotland together at a songwriting retreat with his daughter Electra (an aspiring country music singer). We’d become friends a year earlier, but it was here he asked, ‘So, when are you going to ask me to play guitar on one of your records?’”

Mustaine had only one condition.

“It’s got to be the most rockin’ track you’ve ever written,’” the 27-year-old Kissel says with a chuckle as he relates the story.

 While the distorted crunch of Mustaine’s guitar certainly energizes “Damn!” — a complimentary, upbeat song about a desired woman — it’s not out of place on the 13-track We Were That Song, an album where action-packed tempos outnumber the ballads.

Whether it’s the song name-dropping title track, the slightly Celtic Mumford-feel of the joyous “Anthem” or more rock-flavoured edge of “Guitars and Gasoline,” this album has a kick that Kissel said was premeditated.

“It’s definitely a very lively record,” says the nine-time Canadian Country Music Award winner, named Male Artist of the Year for the last three years running.

“When it came to song selection, it had to tell a story and it had to have a place in the set list. It’s meant to be cranked up loud and it’s meant to be played live.”

Kissel, who earned his first CCMA Rising Star nomination at the age of 16 following more than 70,000 in sales of his first three independent albums, makes no bones about the payoff he anticipates for We Were That Song, his fourth on a major label.

Brett Kissel ©MMFOTO

“This is the album that’s going to do it for us,” he says with a confident humility. “We want to take this not just one level up, but two, three, four levels up!

“We believe this music is ready for some big stages, big festivals and arenas. It’s a lot of everything.”

Now 27, Kissel has spent nearly half his life chasing the brass ring, and the homegrown success of such gold Canadian country music radio staples as “Started With a Song,” “3-2-1,” “Something You Just Don’t Forget” and “Airwaves” among others, as well as exciting shows and cheering crowds, has laid the initial groundwork.

South of the border, though, Kissel has been trying — like so many before him — to second guess what Music City wants out of its suitors. Despite having respected industry veteran Bob Doyle, Garth Brooks’ manager, as his co-manager, it’s been frustrating.

“I’ve been able to have great success here in Canada and it’s been awesome,” says Kissel, who is managed here by Invictus Entertainment Group’s Louis O’ Reilly.

“It definitely wasn’t easy, but I know the steps to take. Whereas in the United States, you think you’ll do these five things and it will lead to this result — I’ll do those five things, whatever’s asked of me — and meet a dead end.”

So rather than attempting to hit a mysterious moving target, Kissel has decided to bet on himself.

We Were That Song embraces the true Brett Kissel. He’s finally being himself without kowtowing to imagined U.S. expectations.

“My last albums (Started With a Song, Pick Me Up) were very special, but I was definitely trying hard,” Kissel admits. “There were elements of honesty there, but not full honesty.

“This album is completely honest, a result of Bob and a lot of other influential people in my life telling me, ‘You’re not going to be happy if you’re not doing what you gotta do. It might be the long way, but you’ve got to forge your own path, be who you are.’”

Kissel says fun-embracing, attitudinal songs like “Shootin’ It” and “Drink, Cuss, or Fish” are representative of the new “looseness” he’s incorporating into his songwriting.

“It’s walking the line of taking different risks on the record and caring more while caring less,” he explains. “I’m caring more about myself and what the fans want to hear, and caring less about being placed in a box.”

Also helping him find his way are the music business tête-à-têtes Kissel has enjoyed with both Brooks and Brad Paisley; he’s toured as an opener for both and Brooks, of course, is country music’s biggest-selling artist.

“Garth was just himself,” Kissel says. “Now that I know the story firsthand from Garth himself; it took a long time to get that traction: for someone to see him as a stock and invest in it, then watch him go to the very top. For the last couple of years, I chased and chased what I thought Nashville, American labels and the American industry wanted me to be. ‘Shootin’ It’ and this entire record is a perfect example of me saying, ‘I don’t care anymore. This is who I am and at least I’m going to be happy putting out this record.’”

Kissel is also taking a page out of the Garth Brooks concert playbook. With his return, Brooks has been performing multiple shows in one tour location, usually over a weekend, sometimes two or three full concerts a day.

In Canada, Kissel is ambitiously attempting the biggest domestic tour ever by a country artist — 100 dates — including 10 to 15 where, like his upcoming Danforth Music Hall shows, he’s staging two full concerts in a day.

Can he handle it?

“I’ve never done it before,” Kissel says. “But if Garth can do it, I’m sure as hell going to try.”

Country-music stalwart Brett Kissel says he’s done looking for U.S. breakthrough | Toronto Star

 

Postmodern Jukebox turns back the clock on pop hits

Postmodern Jukebox turns back the clock on pop hits

Scott Bradlee and his rotating cast of singers and musicians redo current songs — from Radiohead to Katy Perry — for a bygone era.

Nick Krewen

Music, Published on Mon Nov 16 2015

Shaken, not stirred.

No, we’re not talking about James Bond martinis, but the entertaining and imaginatively radical rearrangements of prevailing pop, rock and rap classics by New Jersey-raised pianist Scott Bradlee and musical combo Postmodern Jukebox, appearing at Massey Hall on Monday.

Musically speaking, Bradlee applies the same principle to his renditions of famous tunes that 007 does to his celebrated drink: throws all the ingredients into a metaphorical tumbler, tosses them into a bygone era, and then serves them up with a rotating cast of 60 singers and musicians, ranging from American Idol finalists Haley Reinhart and Casey Abrams to Puddles, a six-foot-eight baritone cabaret singer in full clown costume.

Imagine Nicki Minaj’s “Anaconda” rearranged as a breathless, banjo-infested ragtime-era hoedown, or Miley Cyrus’s “We Can’t Stop” reworked as a ’50s doo-wop number. Sometimes Bradlee switches up time signatures or inserts a few bars of another tune in the middle of a song, as he did with Wham!’s “Careless Whisper,” speeding up its tempo and briefly detouring into Dave Brubeck’s “Take Five” and “Message In a Bottle” by the Police.

You can hear and see them — along with 159 other revamped tunes — on Bradlee’s Postmodern Jukebox YouTube channel, which boasts 1.6 million subscribers and is updated Thursdays.

Bradlee, 34, says he can retrofit practically any song or style. Witness the first five songs PMJ performed at the Great Hall in Toronto in June 2014, their first live show ever: Europe’s “The Final Countdown,” Macklemore & Ryan Lewis’s “Thrift Shop,” Swedish House Mafia’s “Don’t You Worry Child,” Kesha’s “Die Young” and the “Gummi Bears Theme Song.”

“Basically, the process involves picking out a song for its lyrics,” Bradlee explains. “I pick apart the lyrics and the structure of the song to see if there’s anything that would suggest it being recorded in an earlier era.
“For instance, ‘My Heart Will Go On,’ everybody knows it from the movie Titanic; it’s a Céline Dion song. But if you look at the lyrics, it’s essentially a ’50s song: it has that flowery language of “my heart will go on” and that’s something you can definitely hear sung by somebody like Jackie Wilson.
“So you’re hearing something familiar in a completely different context and it still works.”

Bradlee admits that some songs have him stymied.

“We never did a cover of ‘Uptown Funk’ because it already has the classic feel of ’70s funk. Mark Ronson is such a brilliant producer and Bruno Mars is a great vocalist; how do you write something new with that? It’s already classic.”

For Massey Hall, the show will feature “four or five vocalists,” a horn section and a tap dancer.

“If you were to go back in time to the Golden Age of Hollywood and you’re going to a New Year’s Eve party, it’s the kind of party that Frank Sinatra would go to,” Bradlee says.

 

Postmodern Jukebox turns back the clock on pop hits | Toronto Star

Postscript: Ironically, Scott Bradlee was the one person missing from the Postmodern Jukebox appearance at Massey Hall that featured Haley Reinhart, Casey Abrams and others. Franchise experimentation, perhaps?

Paul McCartney delivers marathon concert at the Air Canada Centre

Paul McCartney delivers marathon concert at the Air Canada Centre

At 73 years old, the Beatles co-founder delivered a set that would leave younger musicians reaching for their water bottles.

Nick Krewen

Music, Published on Sun Oct 18 2015

 

Paul McCartney, 73, churned out an impressive 41 songs during a three-hour marathon at the Air Canada Centre on Saturday night, with nary a water bottle in sight.

To put this in perspective, most artists play between 18 and 25 songs over an evening concert. Sometimes, for extra-lengthy shows, the number may reach 32 to 34. And these artists often take sips from nearby water bottles, understandably, while performing under hot spotlights.

The co-founder of the Beatles, the most influential group in pop history, needed no refreshments, even after a fireball-laden rendition of the James Bond theme “Live And Let Die,” where there was so much pyrotechnic mayhem during the instrumental chaos that even the audience could easily feel the heat.

Actually, if anything, McCartney — backed by a stellar band that included guitarist Rusty Anderson, guitarist/bass player Brian Ray, keyboardist Paul “Wix” Wickens and the spectacular Abe Laboriel Jr. on drums — seemed more invigorated as the show progressed.

In a much chattier mood than the last time he was in Toronto, a jovial McCartney told a few interesting and amusing tales between numbers, joking around with the estimated 18,000 in attendance.

Playing his signature Hohner bass and launching with the Beatles classic “Eight Days A Week,” McCartney offered a fine selection of hits from both the Fab Four and the Wings as well as some obscurities and songs from his latest album, the aptly-named New.

Along with the expected favourites like “The Long And Winding Road,” “Lady Madonna” and “Let It Be” — each adhering to the original arrangements loved and cherished by so many — came a few surprises: “Let Me Roll It,” (which included an instrumental coda of Jimi Hendrix’s “Foxy Lady”) and “Nineteen Hundred and Eighty Five” from the Wings’ watershed Band On The Run, “One After 909,” “Another Girl” and “Helter Skelter” from the Beatles, and he dusted off “Mull of Kintyre” for all the Scots in the house complete with pipes and drums from the Paris-Port Dover pipe band.

If that wasn’t enough, McCartney, who still sings gloriously and is as adept on guitar and piano as he is on bass, performed the first half of George Harrison’s “Something” on a ukulele in tribute to his fallen comrade. He also paid tribute to John Lennon during “Here Today” (after a poignant version of “Blackbird”), calling the number written after Lennon’s assassination “the conversation I wished we had.”

And to show he’s still fresh and vital creatively, McCartney performed his recent Rihanna-Kanye West collaboration “FourFiveSeconds.”
“Here’s a song I wrote with Kanye West,” he announced, adding the slightly sarcastic quip, “That was fun.”

The highlights were many: the tender “My Valentine” he dedicated to his wife Nancy; “Maybe I’m Amazed,” dedicated to his late first wife Linda; the rocking party atmospheres of “Ob La Di, Ob La Da” and “Back In the U.S.S.R,” and even a false start on the newer “Temporary Secretary” were rendered with McCartney charm and precision.

By the time one of the most influential architects of pop music performed the sing-a-long “Hey Jude,” the concert had become an unabashed love-in between performer and audience.

In a week where Toronto is being spoiled by appearances by the two surviving Beatles — Ringo Starr is at Massey Hall on Tuesday — it is McCartney, concluding his show with the words “see you next time,” who will be the one to produce a concert five years from now as potent and as powerful as the spectacle just witnessed.

Nobody else can keep up with him.

 

Paul McCartney delivers marathon concert at the Air Canada Centre | Toronto Star

Madonna in Toronto for most ambitious tour yet: review

 

Charismatic singer, 57, puts on physically intense, highly theatrical two-hour show at Air Canada Centre Monday night that shows age is just a number

Nick Krewen

Music, Published on Tue Oct 06 2015

Madonna
AIr Canada Centre. Monday, Oct. 5, 2015.

At 57, Madonna is still wears her Rebel Heart on her sleeve.

The provocative Miss Ciccone, who has made a career out of pushing buttons and boundaries, continued to do so during a physically intense, highly theatrical two-hour-and-15-minute show at the Air Canada Centre Monday night.

For the first of two sell-out concerts in front of an adoring crowd of 14,000, the just-christened nominee for the Songwriters Hall of Fame did what she does best — entertain and titillate, with some stunning visuals and a coterie of 20 dancers who often performed breathtaking moves.

After descending from a cage in a costume that resembled an ancient Samurai master for “Iconic,” one of several new tracks showcased from Rebel Heart, her purest pop album in ages, Madonna ultimately transformed into the sassy chameleon that has charmed music fans and concertgoers for over three decades.

With a stage layout that included a portion of the stage that tilted at a 45-degree angle, and a sword-shaped catwalk that extended three-quarters into the venue, with its “hilt” stretching into the wings, Madonna literally transformed herself from warrior, surrounding herself with armour-clad dancers, to rock star — strumming a guitar during a molten re-working of her very first album’s “Burning Up” — to stripping down to a corset and blurring the lines of sex and religion with “Holy Water.”

As female dancers, dressed in nun’s habits, gyrated around sword-shaped poles — including one that balanced the singer on her back in an incredible feat of strength — and later, transformed the famous Last Supper picture into something of an orgy, you could almost feel Pope Francis looking on with disapproval.

But Madonna has never apologized for being naughty and she wasn’t about to do so in Toronto.

After being groped by a dancer throughout “Body Shop” — on a set that resembled an auto body shop, Madonna brought out her ukulele and strummed out an acoustic version of her chaste pop classic “True Blue.”

At one point, she asked the crowd if they were on anti-depressants.

“I have some anti-depressants for you,” she chimed. “Sing and dance. Dance and sing. There are your anti-depressants.”

Madonna also doesn’t settle for simply serving up the hits in an expected manner. Wearing a matador’s costume for “Living For Love,” she kept the flamenco theme going for “La Isla Bonita” and “Dress You Up” (which incorporated brief forays into “Dress You Up” and “Into The Groove”), turning the party into a fiesta where mini-shots of Jose Cuervo were launched into the crowd.

Her fans, some older, some costumed members of the LGBT community, lapped it all up.

No matter what she did, the charismatic singer, songwriter and dancer constantly proved that she has lost none of her edge — even performing a rendition of Edith Piaf’s “La Vie En Rose.”

The show wasn’t perfect: the dance she performed during “Like a Virgin” was a bit goofy and unintentionally comical, and there were moments throughout the show where she sang a little flat.

But considering she bookended the Toronto appearances by another pop queen — Taylor Swift — and staged a performance that physically ran circles around her younger competitors, age ain’t nothing but a number as far as Madonna’s concerned.

This is probably the blonde’s most ambitious tour yet, and maybe even her most rewarding.

Madonna in Toronto for most ambitious tour yet: review | Toronto Star

Postscript:  The special guest that Madonna brought to the stage for their “spanking” was Nelly Furtado.

Taylor Swift delivers flawless performance in Toronto

 

During 1989 tour stop at Rogers Centre Swift gives shout out to the Jays, sings with guest Keith Urban.

 

Nick Krewen

Music, Published on Sat Oct 03 2015

When it comes to giving stellar performances, Taylor Swift is in a league of her own.

The 25-year-old singer and songwriter delivered another flawless gem of a concert at Rogers Centre Friday for the first of two sold-out nights, a little more than two years after she gave a flawless gem of a concert at the same venue.

Since 2013, only her musical direction has changed: back then, with the Red tour, Swift was still considered a country music emissary.

For her current 1989 tour, as the opening strains of “Welcome To New York” filled the stadium, Swift declared her new symbolic transformation into pop ingenue by stylishly emerging from the stage in a sparkling jacket, black bustier, short red skirt, a pair of shades and with a dozen male dancers.

For the next two hours, the leggy, willowy blond, who struts down the long catwalk leading to a small stage midway through the stadium like a high-paid model, focused mainly on glittery production numbers from her electronic-driven, multi-million-selling pop album 1989.

These were not mere retreads of the records: “I Knew You Were Trouble” started off slow and sensual, eventually building into a steamy, synth-laden number that bore little resemblance to the uptempo 1989 rendition. On “Blank Space,” she created a vocal loop with the words “Blue Jays” and sang the bridge over it.

There were a few nods to the past — a simply guitar-only accompaniment of “You Belong To Me;” a synth-driven rendition of “Love Story” — both from 2008’s Fearless, and a pair from 2012’s Red, including the catchy “We Are Never, Ever Getting Back Together.”

Otherwise, it was all 1989 and the bells and whistles you’d expect at a Taylor Swift show: the giant whirling catwalk, surreal Freudian film clips, colourful dance routines, fireworks — and this show’s special guest, Keith Urban, performing his hits “John Cougar, John Deere, John 3:16” and “Somebody Like You,” with the hostess chiming in occasionally on vocal.

But what separates Swift from every other performer is her ability to connect with her audience outside the music. She doesn’t talk at her fans, she talks with them, and the lengthy observations about emotions she’s experienced seem to stem from sincerity, bringing people into the Pennsylvania native’s world on a level far more personal than most entertainers manage.

It’s a trait that spills into her music and it may just be Taylor Swift’s greatest talent: the world’s most relatable pop superstar.

If opening act Shawn Mendes was even the slightest bit daunted about playing in front of 45,000 people with his acoustic guitar as his only crutch, the Pickering resident didn’t show it.

Going the Ed Sheeran route seems to agree with him, as the Vine-discovered star quickly cajoled the predominantly female crowd to sing along with him on “Life Of The Party,” “Something Big” and his current radio hit, “Stitches.”

Handling himself with great poise, confidence and humility, Mendes has a long, healthy career in front of him.

 

Taylor Swift delivers flawless performance in Toronto | Toronto Star

One Direction on the right track at Rogers Centre: review

One Direction sounded as good as four pop singers with a multi-million dollar aural-and-video production values should sound: perfect. Make that nearly perfect.

Nick Krewen

Music, Published on Thu Aug 20 2015

One Direction
3 stars
At the Rogers Centre in Toronto, Aug. 20

When you consider it, One Direction is the anti-boy-band boy band.

Stack them up against the earlier progenitors of poster pop pablum, whether it’s reaching as far back as the ’60s for the Osmonds and the Jackson 5, or as recently as the late ’90s watermarks Backstreet Boys and ‘NSYNC, and the one thing they don’t do that all the others did is . . . dance.

But the absence of slick, relentless choreography is something the 40,000 mainly female fans who packed Rogers Centre on Thursday night didn’t seem to mind, since they were sharing the same source of oxygen as their singing idols, Harry Styles, soon-to-be-baby-daddy Louis Tomlinson, Liam Payne and guitar-strumming Niall Horan.

In its first Toronto appearance since the fifth singer Zayn Malik abandoned ship, One Direction sounded as good as four pop singers with multi-million dollar aural-and-video production values should sound: perfect.

Make that nearly perfect.

There were some flat notes on “No Control” and “Diana” and a few other spots, especially by Tomlinson, but it’s not like the fans noticed or held them accountable for it.

Instead, they cheered their heroes as they sang each song faithfully, beginning with a fireworks-blasting “Clouds” and following it up with a streamer-shooting “Steal My Girl,” both from the group’s latest album, Four, and screamed at the tops of their lungs whenever they were asked to scream.

If there is a formula to pop music, One Direction and its group of management overseers, which includes American Idol’s Simon Cowell, have perfected it: hire a bunch of influential Swedish writers to craft tuneful three-to-four minute ditties about love, love and more love (with the occasional creative input from 1D themselves).

Then ensure that every singer in the band shares the lead and backs the rest of his pals on harmonies when he’s not singing lead and, while performing, have them walk around the stage just being themselves, with no pre-rehearsed banter, save for the occasional positioning onstage to spread the One Direction love.

Oh and the other pièce de résistance? Every time a different One Direction member grabs the microphone, have them thank their audience often and profusely, because, really, what else is there to talk about when you’re entertaining a bunch of screaming fans?

It’s this anti-approach that’s been a stroke of genius since the band first appeared at the ACC four years ago and usurped where-are-they-now headliners Big Time Rush with their humble, wide-eyed charm.

Five years later and brimming with confidence, One Direction hasn’t really refined their act as much as just become more comfortable with their talent

.
Roaming up and down a T-shaped stage that stretched halfway into the venue, the boys spent the better part of two hours concentrating on their past two albums, only dipping into their first for the upbeat “What Makes You Beautiful,” their second for “Little Things” and “Kiss You,” and their new single “Drag You Down” from the inevitable fifth album that will crash the charts in November.

The songs varied in pacing from power pop to ballads, with Styles, who draped himself with the Canadian flag a couple of times during the evening, seemingly taxed with the more challenging vocal motifs.

The spontaneity came mainly from onstage action: water gun fights between Payne and Tomlinson, a happy birthday serenade to 15-year-old blue-haired Jean, a Payne hug to a gobsmacked fan, Styles’ brief wander into the crowd and Horan’s sloppily improvised Riverdance during the playful Celtic romp “Act My Age.”

It all added up to keeping the disciples pretty giddy and somewhat satiated after 25 songs.

It’s inevitable that time and the fickle tastes of the public will eventually catch up and doom One Direction, but judging by the Rogers Centre audience, that moment seems far, far away.

For 40,000 fans, at least, the band is still heading in the right direction.

One Direction on the right track at Rogers Centre: review | Toronto Star

 

The Weeknd proves he’s Toronto’s next superstar: concert review

R&B crooner Abel Tesfaye, aka the Weeknd, treated crowd at Mod Club to a sort of preview of new album Beauty Behind the Madness.

Nick Krewen

Music, Published on Wed Aug 26 2015

The Weeknd
At the Mod Club, Aug. 25

He’s earned it all right.

The climatic moment in the Weeknd’s recent video for his chart-topping hit “Can’t Feel My Face” occurs when the singer is set on fire by an audience member while performing. He finishes the song “Human Torch” style, his skin unblemished as the flames engulf him.

The metaphor expressed in the video applied to the hottest ticket in town on Tuesday night, when alt R&B crooner Abel Tesfaye, a.k.a. the Weeknd, treated a capacity crowd at the Mod Club to a preview of sorts of his new album out Friday, Beauty Behind the Madness.

With a crowd of 620 onlookers that included artists Francesco Yates and Kardinal Offishall, new Bell Media entertainment production president Randy Lennox and his Universal Music Canada replacement Jeffrey Remedios, several hundred Virgin Radio contest winners and those lucky enough to grab $9.99 tickets, Tesfaye and his three-piece band zigzagged from past to present during an exuberant hour-long set that signaled the arrival of Canada’s — nay, Toronto’s — next international superstar.

Yeah, you could argue that the Weeknd, who will kick off his world tour with a Nov. 3 Air Canada Centre date (tickets are on sale Friday), has already reached that pinnacle — especially since he owns two of the five top-selling songs on Billboard this week — but one got the feeling with this concert that Tesfaye is only beginning to come into his own.

Starting with “Losers,” an aggressive new up-tempo Beauty track, the man with the gravity-defying hair and equally buoyant falsetto bounced around the stage like he had something to prove, and spun through a quick succession of three more soon-to-be-R&B classics — “Tell Your Friends,” “Acquainted” and “In the Morning” — before he returned, as he put it, “to 2011” for House of Balloons’ “High for This.”

At that point, the show became more of a communal event, with the crowd serenading Tesfaye with the lyrics from “Often” and “Glass Table Girls” as he echoed their words.

The crowd lost it when he briefly detoured with Drake’s “Crew Love” (which he initially contributed vocals to) and sang along intensely to his hit ballad

“Earned It” from the film Fifty Shades of Grey, Tesfaye’s impressive falsetto effortlessly gliding into stratospheric octaves.

The funky “Can’t Feel My Face” got the whole joint jumping to the point you could feel the floor move under your feet, and Tesfaye cajoled the audience to “go motherf—ing crazy” for “The Hills,” before returning for an acoustic-driven, slightly accelerated version of “Wicked Games” to close out the set.

In a club that hosted the Weeknd’s very first gig and one he keeps coming back to, it was an evening his fans won’t soon forget.

The Weeknd proves he’s Toronto’s next superstar: concert review | Toronto Star

Foo Fighters keep fans and moms on their feet: review

Dave Grohl makes the most of a leg injury, even playing guitar with his cast.

Nick Krewen

Music, Published on Thu Jul 09 2015

Foo Fighters
3.5 stars
July 8 at the Molson Amphitheatre.

Dave Grohl isn’t going to let little things like a severely broken leg and ankle stop him from rocking the night away.

Lesser musicians would have thrown in the towel and taken the requisite time to heal, but not the Foo Fighters’ founding front man: there he was on stage at the Molson Amphitheatre on Wednesday night for the first of two shows, sitting — with his right leg elevated in a full cast on a contraption that was inspired one part by Game Of Thrones and one part by Dr. Who and The Daleks — flailing away on guitar and singing at the top of his lungs as the first chords of “Everlong” filled the air.

“I haven’t given up yet!” he screamed to the crowd in between verses of the song, the first of 23 that would keep the 16,000 in attendance standing on their feet for the next three hours: “You’re getting a show, motherf—-s!”

And did he deliver on his promise, compensating for his immobility since the June 12 accident in Sweden with an adrenaline-fueled concert that featured extended workouts of Foo Fighters hits like “Learn To Fly” and “The Best Of You,” his five-piece support — guitarists Chris Shiflett and Pat Smear, bassist Nate Mandel, drummer Taylor Hawkins and Wallflowers keyboardist Rami Jaffee — as taut and disciplined as one would imagine.

They also rocked some classic covers — David Bowie and Queen’s “Under Pressure,” Neil Young’s “Cinnamon Girl,” Rod Stewart and The Faces’ “Stay With Me,” and Rush’s “Tom Sawyer.” (Geddy Lee’s mom was sitting side stage next to Dave’s mom, the singer happily pointed out.)

Although he was forced to spend most of the concert in the chair — there was a brief acoustic set of “My Hero” and “Times Like These” where Grohl hobbled up to the front of the stage on crutches, which he broke and threw into the crowd — one of the most frequent visions of the singer was the top of his head bouncing to the rhythm, his long hair obscuring his instrument, as he was strumming along to his band’s aggressive, melodic rock, his “good” leg swinging violently as the group picked up the pace, with “Monkey Wrench” and “All My Life” performed with particular gusto.

He also told some great stories, and brought along film and photos of the accident and subsequent hospital stay. In fact, let it be said that not only does Dave Grohl have a great sense of humour, but also a spirited entrepreneurial reflex. The North American leg of this Sonic Highways tour has been unofficially re-christened the “Break A Leg” tour; the backstage laminates feature a wheelchair illustration and at least two $30 t-shirts are emblazoned with an accident reference, with one sporting the X-ray of Grohl’s injured limb.

During “This is a Call,” Grohl turned his cast into an instrument, rubbing his guitar against it during an extended solo. He even adjusted the first verse of “These Days” accordingly, hilariously singing, “One of these days you’re going to jump off the stage and break your ankle.”

Despite the physical setback, Grohl and the rest of the Foos gave the audience a healthy reminder of what real rock ’n’ roll is: a relentless combination of fury and zeal performed with unbridled passion.

The only negative: a handful of songs — especially the few that drummer Hawkins sang — were so severely under-mixed to the point where they were rendered unintelligible, as the band’s music drowned out the vocals.

Otherwise, Dave Grohl and his Foo Fighters did a superb job of raising the bar of professionalism for their peers: personal injury no longer has a leg to stand on as a viable excuse for canceling tours.

Foo Fighters keep fans and moms on their feet: review | Toronto Star

Elle King delivers music and comedy chops: concert review

In a magnetic performance, the soulful singer proved she is indeed the daughter of comedian Rob Schneider.

Nick Krewen

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.

She’s going to be the life of the party.

 

Elle King delivers music and comedy chops: concert review | Toronto Star