Saturday at Hillside featured a whack of amazing performers - enough to keep me on my feet 11 of the 12 hours of music. Catching at least part of 19 different sets I was busy and here is my attempt to recap ALL of that including Bruce Peninsula, Attack in Black, Julie Doiron, Bahamas, Ohbijou and so much more.
With three minutes to showtime, a gaggle of instrument-toting musicians walked through the crowd to the Island Stage early Saturday morning. The Cliff Hangars workshop was titled "Bruce Peninsula meets The Rural Alberta Advantage" and it was quite literal as they met mere minutes before the show began. This was slightly unfortunate as they weren't able to plan the collaborations all too well and therefore swapped songs for at least the first few tracks (after a lengthy Rock-Paper-Scissors duel to see who would go first). Of these there was a notable RAA track, North Star, which is an apparently still unwritten (or at least incomplete) new tune. The bands finally meshed when they performed Fleetwood Mac's The Chain led by the BP females, and some slide guitar (while the bass solo was done by voice since they were lacking in an actual bass). On another track there was an attempt to record and sample the entire crowd humming a note. However this failed so instead the members of both groups crowded around the tiny keyboard and were able to lay it down. This was subsequently used on a track that only employed keys, percussion and vocals. In finale they attempted to teach us a song written by a preacher that asks "What are they doing in heaven today?" The lessons didn't stick all too well, but boy did we nail the count-it-in "bum-bum-bum"! As a nice touch, the closing chorus was sung completely a capella.
Emma-Lee
Emma-Lee sang That Sinking Feeling on the Main Stage in a colourful summer dress playing an acoustic guitar. Lovely as it was I was off to wake up with Green Go!
After Green Go, since Julie Doiron was late to the Lake Stage I snuck over for literally a glimpse of Kristin Sweetland. The tall lady was telling stories and I just couldn't wait around for the song to begin so I jetted back to Julie Doiron who still hadn't begun. Eventually she took to the stage and I caught a fast, extra-rocking version of a song I enjoy, No More. However with the full 4-piece band playing, Julie didn't seem to be focusing on the vocals and they became unemphasized and lost in the mix, to my disappointment. I decided to cut it off then and jet to the Island Stage.
Bruce Peninsula
Just an hour after finishing up their collaboration, Bruce Peninsula were back at it. The nine-piece nearing-gospel group filled the stage with four lovely females, leaving five equally as lovely males. Introducing the song as a "lung-collapser" due to the exhausting vocal harmonies they belted out Shutters and by the end I could understand the descriptor. The male lead vocalist has a very distinct and somewhat gruff voice, but when offset by the angelic singing of his female companions it melds into glory. For the final number Casey of Ohbijou joined them on-stage for a rousing rendition of Crabapples, perhaps the best track off A Mountain is a Mouth. It was mindblowing, with drumming on everything from the metal tent poles to the stage itself, along with tambos galore as the aforementioned male lead walked throughout the crowd. Do we want this set to end? "Oh Hell No"!
Bahamas
During Bruce Peninsula's set it had begun to rain heavily (though enthralled by the set I hadn't noticed) and it sealed my decision to stay at the Island Tent and give Bahamas another shot. Afie took to the stage with an electric guitar (no, not a Pink Strat) alongside a drummer. He ran through a number of songs from that album before excusing the drummer and playing a couple more solo. Unfortunately I'd decided that despite my efforts to get into it, Bahamas just weren't the thing for me, which meant that I left the tent before Tony Dekker (Great Lake Swimmers) and Owen Pallett (Final Fantasy) joined Afie for a cover of Purple Rain. Dang.
I did catch some of Treasa Levasseur and her upbeat, jazzy music on the Lake Stage, filled out with a guitar, couple of saxophones and drums.
The Tallboys comprised of Kevin Breit, Matt Brubeck and Jesse Stewart played some great freewheeling music together as the accomplished musicians collaborated on the Lake Stage. Obvious professionals their timing was impeccable and the songs themselves great. All of this emphasized considering Jesse Stewart removed a boot cast from his broken foot before beginning the set.
While passing by David Martel at the Main Stage I was forced to stick around as he was playing The Good Lord which then morphed into most of John Wayne Gacy, Jr from Sufjan Stevens' fantastic Illinois before returning to a strong ending of the original track. This delayed my arrival to Ohbijou who had packed the Island Stage. With streamers streaming from their mic stands Casey sang, with her sis Jennifer on violin and the band also playing xylophone and cello on tracks such as Steep. It was the final song that came across best though. Just as Bruce Peninsula had included Casey on their last song earlier in the day, most (if not all) of Bruce Peninsula clamoured onstage for a singalong that brought out the sunshine once again!
After a refreshing swim I waited for Mishka's reggae to finish before the haunting Timber Timbre set.
On the way to eat lunch provided for volunteers I heard some familiar strings and followed my ears to the Sun Stage. Am I glad I did, as Owen Pallett was partway through a favourite Final Fantasy song, This Is the Dream of Win and Regine. (He should have saved that song with the verse "I tried, and tried to keep the clouds away!" for his stormy main stage set!) I would have liked to stay for more as Owen noted later that sharing the stage with Buffy Sainte-Marie was a highlight of his life, but I was called away by dogged hunger.
Attack in Black disappointed me once again live. Perhaps I should just accept that I'm only a fairweather fan - enjoying a handful of their singles but never loving their full catalogue and usually finding myself bored by the live shows that insist on playing the deeper album cuts. I did catch one of their more straight-ahead rock songs, You're Such an Only Child, which I did enjoy though.
Eccodek
My only other option was Eccodek on the Main Stage, who as I noted before play music that isn't within my regular scope of music, but watching them I could feel the energy they were pumping out nonetheless.
Though I would have liked to have seen Silver Starling debut some of their material, or to have accompanied my girlfriend to her fave Dala, or catch up with my hometown-heroes Tokyo Police Club (Newmarket is close enough to Bradford right?) I played it safe by staying put in the Island Tent and not braving the possibility of a giant line to get back in. Overall I think it was a wise decision based on what I heard (or didn't hear in the case of Silver Starling) from others who had attempted it. Based on experience I'm sure the Sunparlour Players would have been great as well. However I was more than happy with the sets from Hey Rosetta, Library Voices, Woodhands and The Arkells!
Friday, July 31, 2009
Busy Hillside Saturday Recap
Thursday, July 30, 2009
The RPC Family (Hillside '09)
"I am an Excellent Steel Horse" came the wail from the Island Tent as Rock Plaza Central took to the stage, and took care of necessary business by getting that song out of the way. They carried on with the next track, How Shall I to Heaven Aspire off the excellent 2006 album Are We Not Horses, in a night that turned out to be a family affair. Not only did lead singer Chris Eaton recall the very young daughter of a bandmate playing alongside RPC at Hillside '07 but he also took the opportunity to announce to the crowd that his wife is pregnant (letting us in on the secret the first day that they'd told anyone outside the family). In addition to all of that there was also a proposal! After A Town at the Bottom of the Ocean and When We Go How We Go (Part I) there was a flurry of activity and I can't say for sure that it was a legitimate marriage proposal right there in front of us, but it appeared to be something of the sort as a lady from the front row ran up to plant a big one on the drummer. This was followed by
Back to the music. There were up to seven people on stage as they played a handful of tracks from the recently released (and atrociously titled) At the Moment of Our Most Needing or if only they could turn around they would know they weren't alone, though I hear the second clause of the title has been dropped. Varying the instrumentation there was a beer bottle played by a drumstick, and both drumsets were simultaneously put to use. Breaking out the first single from the latest album there was a brassy ending to (Don't You Believe the Words of) Handsome Men. This was the first set of this year's Hillside to really bring a load of energy with it (even if that energy had a tinge of hoedown in it). With the final tune Rock Plaza Central commanded My Children Be Joyful! And we were - as singing, dancing and general merriment abounded.
Arkells Silence Doubts (Hillside '09)
Just last year, at the oh-eight Hillside in fact, I recall meeting a friend of a friend and commenting on her concert tee. She was surprised by my awareness of the band and said she only had the shirt because she knew some of the members. Fast forward to this year's Saturday night of Hillside where that very band, The Arkells, were set to close things down in the Island Tent. Goes to show how big the past year has been for this Hamiltonian band. However they had their work cut out for them trying to follow the ridiculously energetic set by Woodhands who had just departed. Frankly I didn't see how they were going to live up to it, even having being thoroughly impressed with the Arkells last time they'd come around.
[Pictured: Love for the Arkells]
Blasting out of the gate with a raucous rendition of Deadlines they kept the energy going with the catchy Pullin' Punches. The handful of people who'd left after Woodhands (probably due to exhaustion or dehydration) had been replaced with at least as many again, cramming the tent. Security attempted to keep people off the picnic benches during Heart of the City but by the time they covered Smokey Robinson's Tears of a Clown with that Motown feel people were dancing and snapping wherever they could get two feet on the ground (or table in this case). After a new track, Country Boy(?), they broke into the awesome John Lennon. During this track they brought things to a pause just as in the recorded version, and held it as the rabid crowd went off, until finally bursting back in with a musical breakdown of epic proportions. The only way to follow that up was with Champagne Socialist and its mean harmonica. Predictably (though definitely not unwelcomed) they closed the set down with radio-hit, as well as rockin' track, Oh, The Boss is Coming! Leaving the stage the singer tossed the mic in the air, letting it crash to the ground while still on, meaning that throughout calls for an encore there was a reverberating hum of our own cheers back at us through the speakers. On the verge of exhaustion we lapped up Blueprint and though already hoarse and with sore hands we hollered and clapped as best as possible to show our appreciation for the show. Realizing my doubts were unfounded, I acknowledged that the Arkells turned out to be a perfect ending to a wild night!
Timber Timbre Haunts Hillside '09
Timber Timbre creates haunting and sparse music upon which the delicate, unique and often ominous vocals of Taylor Kirk are laid. The project is Taylor's brainchild, but on this Saturday afternoon he was accompanied by a slide guitarist and a female violinist, while he picked at the electric guitar in his lap and occasionally kicked the kick drum. Soon after the extremely complimentary introduction from host, Vish Khanna, Timber Timbre played a slow and deliberate version of Lay Down In the Tall Grass that included the aforementioned haunting violin, Taylor's phenomenal vocals and the prominent thud of the kick drum. The set was a very somber affair with only silence from Taylor between songs, and not a smile from either of the accompanying musicians, as if they were tense and afraid to set things off. Musically it was quite the showing, with spooky songs such as Until the Night is Over, and Demon Host coming to life before us. Adding to the creepiness was the way that Taylor only stared out overtop of the large sunglasses that he wore for the entire show. I was slightly nervous that the tiny bit of chatter at the back of the tent from those who were unaware of the genious that they should have been paying attention to was going to make Taylor snap. Finally before the second last song he said in a very humble and appreciative tone a simple "Thank-you very much. You're very kind" and I was able to breathe easier and enjoy the final songs of the set. And enjoy I did - as the closer was a version of It's Only Dark that featured a toy-train whistle, squeaking plastic objects, a shaker and a birdcall. A stunning set that managed to both captivate and creep me out - quite a musical accomplishment.
Hillside '09 Friday Roundup
The weekend started off on a high note as Guelph's most recent Federal Green Party candidate Mike Nagy handed my freshly refilled water bottle to me just before I headed to the Island stage for a workshop to open the festival entitled "Let's Get this Party Started." Ambre McLean lead the first track as members of Rock Plaza Central, Dancehall Free For All and.. a bunch of others joined in. The RPC song featured some triumphant trumpet while others held down the ukulele, sax, banjo, violin and guitars. Ambre played the piano a little later on as the mixed-bag of performers attempted to find their flow. The final track saw Kristin Sweetland singing a silly children's song in French, bringing her unique flair to the performance.
Not feeling that the party was fully started I checked in at the official festival opening only to find a similar aboriginal introduction to years past. Skipping further along I caught a moment of Acoustically Yours at the Lake Stage featuring David Francey amongst others, as well as a nice song from Melissa McClelland.
Hillside's Party Band (USS vs Woodhands)
There were a few bands vying for this year's title of "Hillside Party Band." Trying to attain the title held by such greats as Thunderheist, Shout Out Out Out Out and Holy Fuck is a lofty goal and I considered Winter Gloves, USS and Woodhands to all be contenders. As already documented, Winter Gloves successfully got the tent jumping, but hampered by their mid-afternoon time slot I wouldn't consider them to be the party of the festival. Given the first kick at the can were USS with the closing slot on the Island Stage Friday night.
USS
Arriving at the tent I was shocked to find a line-up just to enter the area - this was a never-before seen phenomenon at Hillside and frankly was something I never wanted to see. I was disappointed when I heard the band start up while still on the outside trying to catch a glimpse through a break in the tent wall. More disappointed were the obvious Hillside first-timers who cut in line in front of us and then continued to complain that they'd spent $50 for the night's tickets just to see USS. Slowly people filtered out, likely those that were unaware that the show was going to be a slightly obnoxious display of dj-beats, yelling and shenanigans. Finally I made my way inside to find exactly what I expected; people stood atop picnic tables and everyone was already jumping.
[Pictured: Ashley Boo-Schultz, the Human Kebab's impression of a Human Mic-stand, Bob Marley, Albert Einstein]
USS are basically a two-man team of hijinx - a DJ and MC/guitarist who start parties wherever they go (I refuse to use their stage names since at least one of them is supremely silly). During Cloudboy the frontman went for a crowd surf to start the crowd interaction and then gave us something familiar with a bumpin version of Outkast's Hey Ya. The DJ's showmanship included scratching with his nose, head, elbow (with chin-in-hand) and even standing on the turntable to scratch with his feet. Later he lay on his back with his feet in the air clamping the mic between them to act as a human mic-stand for the MC. Speaking of MC, already on-stage upon my arrival was a full-sized Einstein cut-out that accompanied their statement that "E=MC everything"! The self-proclaimed "moronocy" continued as the singer clamoured onto the DJ's shoulders to sing (as well as continue to make a milkshake - don't ask). In between high-kicks, jumps and cartwheels they brought out another cardboard cut-out - this time of Obama - who made the ill-advised attempt to crowd surf and was immediately ripped to pieces (literally). Bob Marley didn't have the same fate since he remained on-stage through Hollowpoint (with the 'I's the B'y' chorus dedicated to the Newfs!) as well as the eventual encore.
USS did their best, including all the stage antics they could muster, and did manage to get a party going. In my opinion the whole thing was just a little forced, on the crowd's end anyway, as people didn't let quite as loose as Hillsiders are known to. Nonetheless, like the milkshake that the boys made and consumed onstage during their set, the tent did end up frothing by the end.
Woodhands
The next attempt came from Woodhands - another two-piece - this time with a drummer, Paul Banwatt, and a keytarist (among other things), Dan Werb. In fact, considering there were just the two of them the stage set-up seemed as intense as it was for the Library Voices who had preceded them with a whopping 9 members! Once the drums, keyboards, synths, effect pedals, keytar, vocoder mic and everything else were set the crowd in the Island tent was bursting at capacity and ready to get the party started. Everyone was so gung ho to go that Dan just grabbed the mic and started the show without allowing the lady on her way to do the introduction to make it. From the first kicks to the drum the audience was into it, as was geek-extraordinaire Mr. Werb who was all over the stage, and sometimes in the crowd, screaming into the mic. Whether or not the crowd knew the songs ahead of time didn't matter as the beat was easy to find and the dancing was wild. I Wasn't Made For Fighting was a fave of mine, but songs were interchangeable since people were loving everything coming their way. Even the cover of Electric Avenue and a few lines of "you say I'm just a friend" were met with a raucous response. With balloons and surfing sweaty bodies floating over our heads during set closer Dancer there was no way we were ready to end this party just yet. Again the lady attempted to address the crowd after Dan and Paul had disappeared backstage but she was entirely drowned out by the won't-take-no-for-an-answer cheers for another song. We got our wish and the two gods-for-a-night returned to rock us for another ten minutes. The show was uninhibited dance-your-ass-off party-time fun for all. Congratulations Woodhands - you take the Hillside 2009 party crown!
Wednesday, July 29, 2009
Coeur de Pirate est une Voleuse de Coeurs (Hillside '09)
(Please excuse my awful attempts to write in French)
I've written of my celebrity-crush on Beatrice Martin before, and now that I've actually seen her play live (sadly we didn't meet) I'll admit, I've fallen even harder. Securing a front-row-centre spot, I eagerly awaited the playing of the beautiful piano notes that accompany the young lady's graceful singing voice. With slight concern I noted during the sound-check that Beatrice seemed a bit frazzled with the way things were going, but after a few private words with Vish, and his introduction of Coeur de Pirate, she was all smiles...
Dressed in skinny blue jeans and a blue'n'black striped shirt (with short sleeves to display her tattoos) Beatrice wowed the crowd with her well-crafted songs, sung entirely in French. Asking our preference for banter language she spoke in both national languages, showing the Quebec songstress' proficiency as she coyly took soft jibes at her own obscurity in this province. Handling the delicate keys and delightful vocals herself, a couple musicians accompanied her and added a variety of sounds including acoustic and electric guitar, violin, and ukulele. This allowed for an upbeat version of Ensemble, though the rendition of Printemps cut the keys and opted for a clap-along instead. After introducing and beginning a "really sad" song she restarted it with charm, explaining that a bug had flown into her face. Once past the somber piano opening the violin swept in followed by acoustic strumming to fill out the sound. Before the other musicians left the stage they assisted on a note-perfect rendition of Comme des Enfants, the song Beatrice attributed to making her famous in La Belle Province.
Once alone on the stage she played her original Francis, before a Malajube cover (still in French of course). As she's been known to do, the 'Heart of a Pirate' took Rihanna's Umbrella and made it her own by slowing it down and laying it out over the piano. Sensational.
Very few people responded when the chanteuse asked the crowd who'd heard of her before the set, but I'm sure by the end of this show her name had become inextricably entangled in lovely chansons en francais, just as my heart-strings had become tangled up in knots.
Library Voices' Future (Hillside '09)
Hey Rosetta being a tough act to follow, Library Voices brought the troops - all nine of 'em, including three females - and boy (and girl) did they fare well. So big were they, that the stage crew required a massive whiteboard diagram of the setup in order to assemble the stage.Fashion was a mishmash, including some lovely dresses and suits, though also some hipster fads. Regardless of dress, each of the members played their part well (as in their last Guelph show), showing passion in the form of a busted tambourine right off the top that was tossed and skittered across the stage in pieces.
Opening with a bunch of new songs from a forthcoming album (potentially dropping this fall) they worked up the masses assembled in the Island Tent before hitting us with numbers from the oh-too-short Hunting Ghosts EP such as Love In the Age of Absurdity with its rippin' guitar. Vonnegut's Grave had a couple of the females taking turns on the verses in the spirit of sharing. Though Kundera on the Dance Floor says 'don't go there' - they did - with members singing from the floor in the midst of the crowd. The final number was their breakout song Step Off the Map and Float that brought down the house as the sax was being tossed in the air and bashed off the stage, while the sweaty-wet (and tall!) bass player climbed onto the drumset.
A fantastic new tune with a fantastic new chorus sang "I saw the future escape from a crystal ball, it said the present is just an afterthought. Love is a forget-me-not, so I guess the past is all we've got." Well I've seen the future in this Regina group's crystal ball, and it promises success and longevity!
Go Green Go! (Hillside '09)
After a rest-free Friday night camping in Volly Village I was looking for someone to "Wake up my body, Wake up my head." Who better than Guelph's-own, Green Go? With a time slot as the sun hit it's highest point (who am I kidding, there was hardly any sun all weekend) the early-risers hit the Lake Stage Saturday for some synthy excitement. As I entered, the five-piece was blasting though Ghosts of the Future and carried on with You Know You Want It, featuring some blistering instrumental work and a cattle-sized dose of cowbell. The double drums complemented the bass lines and got the enthusiastic crowd boppin'. Next up was the catchy-as-the-common-cold Brains for Breakfast and it slayed! Put On Your Specs, Boy also featured the double drum and further proved that this percussion onslaught is when they hit their stride. In their closing number, opened by Jess' singing, they worked up to a let-loose dance number that took cues from SO4 with the bass line you never want to end, and the teasing near-finish, only to bring the beat back for one more round. When the music did eventually culminate for good it was met with a rousing hometown ovation. Go Guelph, Go Green Go!
Dala (Hillside '09)
Welcome to Guest Blogger - Natasha Holmes - who had this rave review of Dala's Saturday evening Hillside Main Stage performance:
Having been listening to Dala for months leading up to Hillside, I was nothing less than giddy as the ladies, AmanDA and SheiLA (DALA), stepped on to the stage. Opening with a delightful but powerful rendition of Marilyn Monroe.. they commented afterward that the long, held phrases make the song a big ego-booster, as the audience seems to be singing along, even if they're yawning. Continuing with more upbeat tunes, it was just two girls, two guitars and a lot of witty conversation between two best friends. One such story was of their tour with Tom Cochrane, as they sung back-up on Life is a Highway and were told that they "rock" by the fans!
By the second song, Sheila jinxed us with hopes of good weather, which of course sent the clouds rolling in. Audience members ran under the main stage's overhanging roof for some shelter, which left the rest of the music in a perfectly intimate setting. Taking a more serious note, the guitars went to their stands and Sheila moved to the piano to begin Horses from their 2007 album Everyone is Someone. The song, about a boy who had become paralyzed after an accident, showed the maturity of their writing and vocals, while adding some meaning to a beautiful tune. The set also included the simple but stunning Anywhere Under the Moon from the 2009 release Who Do You Think You Are? which also showcases their Canadian origins where they belt "So I drive, all the way, to Winnipeg." Other patriotic drops include remembering Sauble Beach, the fashion of Niagara Falls, not to mention the song titled Hockey Sweater (not performed). Maybe Guelph will be featured on the next album??
Levi Blues was definitely a favourite, as Amanda put away her guitar and let Sheila carry the music. She kept herself busy, of course, acting out the sweet lyrics about writing 'I Love You' on the Great Wall or watching lovers in the park. One thing I noted was the way the girls interacted on the stage. When one person was singing solo, the other would watch them with admiration and respect for their musical strengths. It was great to see such a friendship on the stage, making the listener so much more connected to the music they create. To end the set, they played a little ditty with a very little instrument (mini-guitar; ukulele of some sort) saying goodbye - a very sweet ending to a very lovely set. With cries for an encore, the girls came out, quite surprised, with nothing but B-sides to play. Instead they did a number a cappella, which involved mixing Fever with Hit the Road Jack. The harmonies, the music and the personality on the main stage Saturday evening certainly made a memorable performance! While a friend and I were having our newly purchased album signed by the ladies we were recognized as "the smiling girls at the front". Yup, that was us...
Tuesday, July 28, 2009
Hey Rosetta Wins Fans (Hillside '09)
What can I say about Hey Rosetta that I haven't before (or before that)? Most of the crowd in the Island Tent on Saturday evening however were looking forward to their first glimpse of this St.John's band with recent Polaris shorlist buzz. In a little over half an hour I'm confident that Tim Baker and co. managed to win over these new onlookers. As a pompous seasoned vet (jokes!) I noticed the following:
- That noisy, building feedback intro to Asleep (actually outro to New Goodbye on the album) always borders on excess live but just as it is about to send you bonkers that familiar guitar drops and the relief it brings feels like the day after your final exam.
Hey Rosetta said through their set list:
There's An Arc and so we'll bring out the Lions for Scottie with whom We Made a Pact. After all he's been Asleep For a Long, Long Time. We'll continue to plant Seeds with new songs to avoid Tired Eyes and touch as many Red Hearts as possible.
Hillside '09 Sunday (Gentleman Reg, Winter Gloves, More!)
Winter Gloves
French or English? Winter Gloves spoke only 'Party' during their mid-afternoon Island stage soiree. With keys and synth abounding they started the dance party with their opening number - Factories - and didn't look back from there. The mustached drummer did his best to get people moving, and yes, his best was good enough. Once I'd noted the xylophone and electronic drum pad I thought I could leave, since I'd figured out their modus operandi, but just couldn't tear myself away as I was having too much fun.
Monday, July 27, 2009
Get a Clue(s)! (Hillside '09)
With Clues being so fresh, having just released their first album, their level of notoriety wasn't quite up there - but the tent was packed anyway. Okay that may have had a lot to do with the giant rainstorm, fully-loaded with directly-overhead lightning, that was tearing across the island, nevertheless Clues tore it up too and gave these people a noisy (though structured) show. To obtain sounds such as those found on the interesting self-titled release the five members moved about the stage to play a variety of instruments. Especially busy was the lone female who worked a bow on the opening track, drummed on several others, played the bass, and bashed an already banged-up sheet of tin that was hanging along with bells and various other metal objects meant for percussion. They got through a solid selection of songs including a splendid rendition of You Have My Eyes Now sung by the male who most often played drums. Impressively they managed to generate most of the sounds found on the album in this setting - and what made this even more exceptional was, as we found out later, that due to the storm and a power surge the entire set had been played without anything in their monitors! On the final track the female was at it once again, this time screaming into what looked to be the speaker end of a telephone receiver but must have been a vocoder of sorts. It was dirty, and loud, and rather spectacular!
Dancetent? Free For All (Hillside '09)
It was early Saturday at Hillside two years ago that I wandered into the Lake Stage for an unexpected treat that came in the form of exuberant youth (then high-schoolers) playing infectiously energetic pop music, filled out with a brass section. As good as Dancehall Free For All were then they've only improved since. Sure a tad of that energy may have worn off, but it's been traded for maturity which shows in both the songwriting and the stage presence. The singer's vocal are dynamic and full, looking slightly odd coming from this young man, but sounding right in context. They played through mostly new songs from the recently released 9-5 Lives including Danny Knows! as well as super-new and yet unreleased tracks like Shameless and Kelsey Tells Me. All included the sax and trumpet that provide that signature sound and really get the kids moving. The teens that packed the Island tent even started a mini circle-pit which added to the occasional ska feel of the show (their age evidenced by the fact that I could see perfectly over their heads from 30 rows back!) But you don't have to be young to enjoy this band, as they produce quality music, which just so happens to mash in a whole load of fun!
Rural Alberta Advances! (Hillside '09)
I came into the Rural Alberta Advantage's set expecting a fairly standard acoustic rock set- and in essence that's what was delivered, but there were intangibles that pushed this performance far past expectations making it one of my Hillside Sunday highlights. Having seen all three performers in some form already this weekend it was finally time for them to play their own material.. rooted in the province of Alberta (though actually a Toronto band with youth ties to Alberta). Therefore along with the performance we also received some simple history lessons regarding this prairie which (boring as it sounds) may have been one of those bonus elements. The male lead singer, Nils Edenloff, taught the lessons as intros to song with an acoustic guitar slung over his shoulder thanks to some thin yellow rope. He belted out Don't Haunt This Place which got things really going on the Lake Stage. During In the Summertime (as well as other tracks) Amy Cole sang her part wonderfully and also banged a drum that had a tambourine sitting on top of it - making a great racket! On songs such as Deathbridge in Lethbridge the drummer, Paul Banwatt, who had tore things up the night before as half of Woodhands again held things down behind the kit. To add to the percussion Nils would at times pound on his acoustic while holding down chords making a neat reverberating sound. A solo-acoustic cover of Eye of the Tiger from Nils was a humourous choice but it came across well. Altogether the band earned respect and adoration especially with the overall excellent song Four Night Rider.
Even upon review I can't tell what it was that made me enjoy this set so very much - perhaps it was simply the mug of beer I'd had during it - but it was simple yet awesome. The RAA have definitely upped their status in my eyes and I hope to catch them again next time we're both in the same province - whichever that may be.
Watson's Experiments (Hillside '09)
I was thoroughly impressed with the way that the albums were translated into a live show by using a variety of unique elements. I was further impressed by Patrick Watson pulling this off after having a few drinks - if his ordering of a whiskey into the microphone is any indication (not to mention his excuse of being wasted for why he accidentally pulled out one of his own patch cords). He never claimed to be angelic - in fact in response to an audience adulation suggesting as much Patrick professed that he was anything but! Angel or not, there's no denying that he is a musical god.
Storms Don't Stop Final Fantasies (Hillside Festival '09)
Anticipation was growing for the greatest one-man act in Canadian music today, as Final Fantasy was set to take the main stage on the final evening of this year's Hillside Festival. Another feeling was also mounting though, that of trepidation, as people glanced over their shoulders toward the massive, dark clouds that loomed in the distance and seemed to be encroaching on the island, threatening to black out the twilight. Owen Pallett himself scurried around the partially-covered, green-roof stage, checking his own gear while his record oddly played quietly over the house speakers. With the weather still holding Owen was introduced and quickly took his position at center-stage where his violin sat atop his keyboard. Wasting no time he introduced himself to the crowd and started in on a brand new song, followed by another. In his charming manner he mentioned to the adoring crowd that he was going to play only new material, but gave us the option if we tired of that to send him the signal (which he demonstrated was the finger) and that he would probably just return it and continue to play new music. This went over well however, since the man exudes charisma in a very humble and unassuming way - exemplified by the fact that he could wear jeans and a T - his own merch t-shirt - on stage (but then explaining that the shirt doesn't say "Final Fantasy" on it anywhere so he had to promote it).
As Owen began creating the loops of the third song, This Lamb Sells Condos, umbrellas began popping up in the crowd and people cowered from the rain that had just begun to fall. Peering out from beyond my dripping rainjacket's hood I watched as FF played another new track by layering sample upon sample of violin bowing, plucking, tapping plus keys, to the amazement of the now thoroughly damp patrons in the crowd. As great as this was, it was the next song that would set this performance apart from any other.
Cheerfully Owen began recording as a cool breeze picked up, and with the first loop playing in the background he laid down another and the rain drops grew in size - pounding on our umbrellas. During the third loop there was a noticeable change and the wind itself began looping; swirling under the cover of the stage, bringing with it wet raindrops that began to splatter across the speakers there. The audience was completely captivated by Owen's performance and barely noticed as stage hands snuck out to cover the speakers. The song grew with intensity as did the wicked weather - to the point where the stage manager ran out and gave the cut signal to his crew, and to Owen who completely ignored him and continued to bow much to the delight of the crowd. Next he walked right up to Owen - touching his soaked shirt indicating for him to stop. Owen yelled back "Let me finish this song!" without missing a stroke. With the stage director backing off, Final Fantasy mesmerized us completely with his violin, making the hair on my neck stand - not from the cold but in absolute amazement of this performance. Stage crew ran around protecting equipment while Owen played on, pleading for "one more minute". Finally the song reached a fever pitch, as the refrain screamed "I'm never going to give in to you!" a blistering crack of nearby lightning lit the sky beyond Final Fantasy - momentarily brightening the sky to a red hue. This earned a massive cheer from the electrified crowd of determined onlookers. Closing in on the culmination of the song the tech crew finally adhered to the stage director's frantic neck-slicing signals and pulled the plugs. As the lights faded out Owen Pallet was left standing in the dark - sopping wet - still playing his violin without speakers, completing the song. The definition of a Hillside moment - it was utter magic.
After a brief intermission the storm did in fact pass over the small island in Guelph Lake and Owen was able to finish his set. Continuing in beautiful fashion he played through another few new songs as well as a great version of Flare Gun. By the end the rain had slowed to a trickle and Owen closed the night with The CN Tower Belongs to the Dead which was fabulous. He graciously thanked all involved with Hillside and left the stage to a giant round of appreciation from the hardcore fans who had stuck him out to the end. It was the set of the festival and a tumultuous-ending to a tremendous weekend!
Hillside 2009 Complete!
The supposedly-'summer', though supremely soggy edition of Hillside 2009 wrapped up last night in full form. This weekend's festivities lived up to the truly exceptional standards that Hillside has set for itself, which is saying something. Having seen around 40 artists perform this weekend you can be assured there will be plenty to come here in the very near future. As soon as possible I will be attempting to put into words the legendary performance by Final Fantasy last night that led to the most brilliant Hillside moment of this year's festival - perhaps the best of all my Hillsides!
Thursday, July 23, 2009
Countdown to Tomorrow
I suppose that title is misleading as this post actually focuses on Sunday but it follows suit of my Friday and Saturday plans. And Hillside IS tomorrow, which is worth highlighting.
Perhaps (perhaps) my most anticipated performer of the entire weekend plays Sunday - that being Final Fantasy who has captivated me each time I've seen him. Perhaps (perhaps) one of my top-3 all-time performers period. For those unfamiliar with Final Fantasy's live show - it is a one-man whirlwind of violin looping, plucking, tapping and bowing and it's incredible. For a show review you can read more though it still doesn't capture it so I encourage checking this out for yourself (and skipping the bizarre "Moonwalking" tribute to MJ).
Guelph represents in the form of Dancehall Free For All's triumphant return (3rd paragraph) to the festival that started it all(okay, maybe it didn't start it all, but definitely gave them a huge boost). Look here for a glimpse of their show (mind you this was before the recently released and highly listenable second album).
Another (ex)Guelphite is.. Gentleman Reg who gets a lot of love in these parts. Solid.
Clues from the Pop Montreal show will hopefully live up to their excellent debut album.
Also looking forward to catching The Rural Alberta Advantage and Patrick Watson for the first time.
I'll see if there's time for Hillside faves - Great Lake Swimmers who are good, if somewhat plain live. Maybe I've just seen them too many times without trying (plus opening for Feist in Kitchener that I apparently didn't review).
Also I'll likely check into Winter Gloves too and see if they can get the island stage jumping.
I'm debating getting up in time to catch what looks to be a pretty funky workshop Sunday morning - Delhi 2 Dublin, Eccodek and Fred - see how late the drumming circle goes in volunteer camping Saturday night I suppose. Thanks to Josh's comments I may be up anyway for the Gospel Hour which apparently shouldn't be missed.
See you all there! Over and out until the reviews start flowing in here next week.
Head for the Hills(ide) Tomorrow!
It all begins tomorrow evening.. I'll be posting some things to watch out for on Sunday here shortly. And of course next week I'll do my best to get my reviews out in a timely manner. After gorging on music for an entire weekend I'll have plenty of blog-fodder.
Don't forget your rainjacket, but also your sunscreen!
Monday, July 20, 2009
Countdown: In 5..
Saturday will be one heckuva full day of music at the Hillside Festival in Guelph, Ontario.
Before the sun has even reached its peak things will have heated up with a collaboration born on some distant planet with ultra-intelligent lifeforms - that being Bruce Peninsula and The Rural Alberta Advantage. That will also allow me to catch at least part of Julie Doiron a couple hours later as her set is in conflict with Bruce Peninsula's.
Playing to a hometown crowd, Green Go are gonna go off I predict.
As much as I'd like to catch the Final Fantasy/Buffy Sainte-Marie/Notre dame de Grass mash-up... Timber Timbre will be given precedence.
Dala will entertain my girlfriend on the mainstage while I watch Hey Rosetta because I love 'em. (Too bad I'll have to miss C.R. Avery who intrigues me with his lyrics and beatboxing).
Library Voices and Silver Starling is a toss-up. Library Voices I've seen and are great, whereas Silver Starling are up-and-coming and look to have a bright future based on their strong past.
Next is another battle royale for my attention - Tokyo Police Club vs Woodhands. Leaning towards the latter..
Wow, these are going to be tough decisions - that, or a lot of running back and forth between stages - as I decide on who will shut down this epic day of performances for me. Either the rocking Hamiltonians - The Arkells, or the Toronto alt-country trio of The Sunparlour Players. Having just seen SPP recently, and loving the Arkells awhile back, the Hammer may win my attention.
Suffice to say, Saturday will be a whirlwind with nary a moment to rest. Hopefully sleeping in a tent won't hinder my ability to keep the energy levels up. Feng's Dumplings, Lemongrass and Wellington must be my fuel.
Friday, July 17, 2009
Countdown: In 7..
That's right.. in one week from now we'll be heading down to the island at Guelph Lake to set up some tents and take in a weekend full of more music than there were musicians at last week's BSS show. The excitement is spreading like this unknown arctic blob.
A look towards Friday...
Hopefully Coeur de Pirate will have her health/energy back to perform Friday night (after being forced to skip her Dawson City performance citing illness/exhaustion depending on the source). With her upcoming schedule absolutely packed (in Quebec) for the rest of the year, let's hope she can recoup! If not, I've got a fallback in Australia's The Grates. Speaking of energy, my bet is that USS will bring more to shut down the Island Stage Friday night than Loreena McKennitt over on the Main (no offense).
Tuesday, July 14, 2009
Weekend of Wonders
I just (just, literally 10 or so minutes ago) posted a makeshift schedule for Hillside et voila! the official sched is released. No immediate surprises that I can see - no new headliners.
UPDATE!-- There is a surprise at the Women's Tent Workshop "Back-door Fun: Anal Play for Women" which follows "Getting the Sex You Want"--! Also there are a number of blanks in the schedule currently and there haven't been in the past. *Crosses Fingers* for late additions.
Check the schedule for yourself at the top-right corner of the Hillside homepage.
Friday and Sunday tix still available from the festival - while Saturday and weekend passes might be accessible from the "Stuff Swap" section of the official website.
See ya there!In addition to the Hillside official word on schedule, here's the scoop from the internet. Be sure to check set times when the actual schedule is released - probably in the coming week or so.
Monday, July 13, 2009
Beautiful Social Scene
It was the Canadian concert of the year (note the absence of qualifiers such as "free", "summer", or "Toronto"). In retribution for scheduling a Toronto Island concert, and subsequently canceling when realizing the date conflicted with the noisy Indy, Broken Social Scene performed a free show at the Harbourfront Center. The lovely and adequately-named venue was at least three times too small, as hordes of music lovers ranging from hipsters to rockers literally jammed the entire space from stage-front to the water. Despite the cramped quarters you'd be hard-pressed to find someone who didn't walk away amazed by the band who fittingly represent the Toronto indie-scene, in part because the collective has members in some of the most successful bands going.
Kevin Drew
In a role reversal of the Spirit If album, which is "Broken Social Scene Presents Kevin Drew" this evening was "Kevin Drew presents Broken Social Scene" as he played ringleader for the indie rock on-stage circus (in addition to killing it on guitar). The band played a splendid version of Kevin's Frightening Lives from Spirit If too. As a core member of the group he had the enviable job of introducing the cornucopia of musical royalty who took this night from special to epic. Rather than prolonging the hoping and wondering of the crowd, he waited only two songs (a new song, and Fire-Eyed Boy) before welcoming Ms. Leslie Feist...
Feist
This beloved lady garnered a huge response from the crowd as she stepped out to sing 7/4 Shoreline. It was not an entirely unexpected guest feature as she'd joined BSS at NXNE a couple weeks ago, and from the beginning they'd been promising us an extra special show. (Plus when heading to a BSS show doesn't the talk of who will be present always swirl?) Later on in the show there was a gorgeous acoustic medley of Feist's Past in Present and I Feel It All. She also picked up some drumstick to bang away on the second kit for more than a couple tracks, in addition to busting out her wonderfully dorky dancing. Oh, and so much more, including lovely female duets and triplets.. including Ms. Amy Millan of
Stars
Amy took the stage to perform what I presume to be a song from her up-coming second solo release. It was an incredible vocal performance as most of the artists went backstage and Amy sang solely with percussive accompaniment. Fellow Star, Evan Cranley (yes Cranley's Gonna Make It) was all over the stage playing a host of instruments all evening. Unfortunately Torq (Campbell also of Stars) wasn't in attendance despite often playing in the BSS brass section, probably because he resides in Vancouver and this show was rather Toronto-centred. Amy's voice was great as she appeared very happy to be there but perhaps not as obviously energetic as the bounding Ms. Emily Haines.
Metric
James (Jimmy) Shaw was already on stage (I believe) when bandmate Emily Haines came out to the screams of adoring fans. Shooting up even further in popularity recently after their self-released Fantasies album, Metric have a huge following and Emily is at the focal point. She sang on a very, laid-back version of the Metric single Gimme Sympathy. She stuck around and bounced around the stage, dancing and singing (simultaneously without holding back on either) for the rest of the show. Now with all the prominent females (plus the also-amazing touring female vocalist, Lisa Lobsinger) from Broken Social Scene's storied history present on-stage together (how many years has it been?) there was a euphoric rendition of the simply beautiful Anthems for a Seventeen Year-Old Girl that featured Julie Penner on violin. Emily was also at the forefront singing along when Mr. Jason Collett had his turn in the spotlight.
Jason Collett
Perhaps my favourite song of this BSS show was not a Broken Social Scene song at all, but Jason Collett's I'll Bring the Sun. An excellent summery tune in it's own right, when flushed out by the now 13 or so musicians playing together it took on a new strength. The crashing ending saw thirteen separate musical entities turning from the crowd into their own worlds to combine for one ultimate song meltdown. It was utterly awesome.
Apostle of Hustle
Andrew Whiteman is perhaps my favourite guitarist in the band - and when there's 4 to 5 guitarists at any given moment that's saying something. He is another so-called 'core' member and had been playing from the get-go but was also afforded the opportunity to showcase a tune from the May-released Eats Darkness. Admittedly his Apostle of Hustle music doesn't usually turn my crank, but this was an enjoyable rendition of Soul Unwind.
Brendan Canning
As always the bearded Brendan Canning was a force on guitar and played strong the entire night including a couple from his BSS Presents too. One of the founding members and creative forces behind BSS he usually allows his guitar to speak for him during live shows and this night was no exception.
Happiness Project
I'm not sure that any of the songs from Charles Spearin's Happiness Project were played amongst the handful of songs that I didn't recognize (and I assume to be new BSS material, recording under way) - but Charles was definitely contributing all night long in bringing happiness to the throngs of music lovers in attendance. The female contingent opened up the show's final track, Bandwitch, with their Oh Oh Oh uh Oh Oh Ohs. It wasn't, of course, the actual last song and I could go on and on about it, as the show did - with a total of four encores (one track each) but words cannot do justice to this show that transcended my high expectations. As KC Accidental ended I'd known I'd witnessed something special, and the absolute final encore - a fast version of Major Label Debut - cemented this show as one to go down in Toronto indie history.
Thursday, July 09, 2009
Hillside Guide
A few acts I'm making a point of catching - hopefully I'll see you at some of these!
Coeur de Pirate may be my most anticipated set of the festival, basically because I fell hard for Beatrice (don't tell my g/f) upon first hearing this lovely chanteuse and have yet to see her live. This lovely tattooed young lady sings glorious songs en francais over lilting piano. Added incentive is that she was a Polaris Prize long-lister.
Clues are a delightful band outta Montreal who's debut self-titled album recently dropped. Not only that but they are part of the third Pop Montreal showcase at Hillside - and those Pop Montrealers are no slackers.
Bruce Peninsula have released a most excellent album entitled A Mountain is a Mouth and I can't wait to see their stage adaptation.
Patrick Watson a beloved Canadian indie rock figure that I have never seen before. Therefore I can't speak for his live performances but based on recordings I'm intrigued and excited to try him out.
Timber Timbre aka Taylor Kirk has a buzz following him everywhere - enough to get swooped up by the Arts&Crafts label. Should be a soft, lovely show.
The aforementioned I am excited to see for the first time, whereas I can vouch for the following acts having taken them in before (check the links!).
Hey Rosetta! I won't even get into all the reasons why, but I love the poop outta these guys (and girl). As awesome as Into Your Lungs is - the live show blows it outta the water (in this case, Guelph Lake).
Final Fantasy. Violin. Loops. Pop. Amazing. A must-see!
Woodhands are a two-piece that bring the energy.
The Arkells from Hamilton put on a rockin' live show from my experience.
As always there will be plenty to see at this year's fest and I look forward to checking out a bunch of others in addition to this list including The Rural Alberta Advantage, Australia's The Grates, the token party-band for this year (besides Woodhands) - USS, Sunparlour Players, Silver Starling, Library Voices and the list goes on.
Okay, so I guess that hardly narrowed the list down.. you'll have to see what turns your crank.
I don't claim to be an expert - though can anyone really be an expert when it comes to music? It's all so subjective. Therefore in terms of Hillside Festival acts I would definitely encourage you to check the bands out for yourself. In addition to the above list I'll even provide a handy R3 playlist I created as a jumping off point. It is recently updated and features only Hillside 2009 bands; by clicking the currently playing artist you can access more music and info from that artist on their New Music Canada page.
More Hillside Pop!
Pop Montreal's Pop Off - the traveling contingent from the Montreal festival - looks to have added another act to the already impressive lineup of Clues, and Witchies.
Gambletron which is a lone female, Lisa Gamble, apparently making a lot of noise and should be a part of the Hillside Festival as well.
Technically this is Pop Off Tour II, though Pop Montreal had a showcase at the Hillside Festival in '07, '08 and will again this year.
I'll mention that The Dears are playing a free show at the Harbourfront Center in Toronto on Sunday July 26 (Hillside Sunday). Naturally speculation would say that since they're around they could be that rumoured other headliner (after all, Gentleman Reg is playing Harbourfront AND Hillside that weekend, though Amy Millan isn't - yet). However gut instinct tells me they won't - either way I'm not too concerned as I find them to be a bit of a yawn.
Tuesday, July 07, 2009
Polaris Shortlist Reaction
In keeping with my polaris coverage - I'll give you my initial reaction and fire it off without much thought.
Well I went 6 for 10 which is barely a passing grade of D. Somewhat disappointed in neither of my buzzed darkhorses, Coeur de Pirate and Timber Timbre, making the short list. Guess that means my overall prediction of TT is absolutely wrong!
Of the four new ones, Metric is okay but pretty boring really. K'naan deserves it and is doing something unique at least - probably my fave of these four. Granted the only short list album I haven't heard (or at least haven't listened to) is Fucked Up - so I guess I'll have to check it out. Malajube was alright - perhaps I didn't get into it because it is french (so I can't sing along as easy) and perhaps it made the short list because it is french (and they wanted to diversify)?
I can see why the Arkells didn't make it - their album is solid but not too different and really it is their live show that makes it. On that note, I'm pleased to see that Elliott Brood slipped in! Also somewhat understandable that Wolf Parade didn't make it since this album didn't even surpass their own debut.
Gotta say I'd be underwhelmed if any of Joel, Metric, GLS won.
Having to make a new prediction of my winner I will root for Hey Rosetta! and say K'naan also deserves it (and make a point of sitting down with the Fucked Up album).
Short list follows the jump!
1. Elliott Brood - Mountain Meadows
2. F*cked Up - Chemistry of Common Life
3. Great Lake Swimmers - Lost Channels
4. Hey Rosetta! - Into Your Lungs
5. K'naan - Troubador
6. Malajube - Labrinths
7. Metric - Fantasies
8. Joel Plaskett - Three
9. Chad Vangaalen - Soft Airplane
10. Patrick Watson - Wooden Arms
