No way will the weather halt a Hillside. Sun, rain, lightning, or mud does not matter to these patrons that carry on despite it all. The elements did their best to put a damper on Ms.Basia Bulat's set by raining, on-again, off-again, hard enough each time to force the stage crew to come out and cover up. Perhaps ten minutes late it let up and stayed that way (for the most part) to allow Basia to perform. Thankfully she did as I've been waiting for two years now to see her after missing out on a sold out gig at The Stage.
Even with the prolonged build-up, further delayed by the rain, I was not disappointed once she began singing out. Flanked by a couple other female musicians, violinist and guitarist/ukuleleist respectively, Basia in her polka-dotted dress had further accompaniment from a stand-up bass and drummer. Despite all of this it is her voice that cuts through and presents the "Wow" factor, especially on set-toppers Heart of My Own, If Only You and In the Night. Guesting on Go On was the trumpet player from The Hidden Cameras before the males departed to leave the prettier half of the band to play Before I Knew much to the appreciation of the hand-clapping audience.
As if the weather-gods were anticipating Basia's set (or perhaps vice versa) Basia was well-prepared with her song that sings, "I don't mind, If It Rains". Neither did we, especially since her voice like sunshine broke the clouds, warming up the afternoon as well as our hearts.
Thursday, July 29, 2010
Basia Battles the Weather (Hillside '10)
My Son the Hurricane (Hillside '10)
Once before have I seen a gaggle of musicians parade through a Hillside crowd. Unlike that internationally acclaimed band who were already in their heyday, My Son the Hurricane are an emerging group with something to prove. Without warning they began playing single-file, looping around the edge of the Island Tent during a break in the Saturday afternoon rain. Quite a stir was made even before their lead sing-/rapp-er reached the stage, blazing yellow banner bearing the bands name in hand.
Click "Read More" for the video below!
Eventually all twelve members clamoured up there behind him with their assortment of instruments and large brass contingent (complete with massive tuba). For the size of the band they were astonishingly in unison while playing some fun, upbeat music. Overtop of this, their beaming, charismatic frontman spit hip hop rhymes and did all in his power to get the party going. He was somewhat successful as a brave soul attempted to body surf, and even people just ducking under the tent for its rain protection seemed to be nodding along in approval. A playful version of Pantera's Walk medleyed into Rage's Bombtrack, the latter being an appropriate way to showcase their skills. If it's some high energy fun you're after, consider giving these guys a shout.
Opening up the Canned Goods (Hillside '10)
It was early Saturday when The Canned Goods took to Hillside's stage. Never too early for some good rock though is it? This local Guelph four-piece is young in age only as their musical stylings hearken back to classic rock roots in a way that compliments them very well. Unphased by a mainstage billing they appeared cool and composed while their instrumentation and vocals came across loud and clear. Songs were well written and dynamic, including decent guitar solos which always makes me a happy blogger. The only telling sign of their newness was that they only used two-thirds of their allotted time, presumably running short of polished and completed songs to play. When the only complaint is "we wanted more" you're doing something right! All that means is that there's more incentive to get another dose at their next show and eagerly await mighty things from this band with a future.
Wednesday, July 28, 2010
What was that Socalled? (Hillside '10)
What is Socalled? No, really. I saw a bit of the Socalled set at Hillside a couple years ago, didn't understand what was going on so dismissed it and moved on. This time around I stuck it out for the spectacle and yet I'm still just as confused. I mean, yes, there was music (including rapping in Yiddish) but it was much more than a concert. There was magic - so was it a variety show? A few guests, including local legend Noah 23 joined them on-stage to drop a verse or two, but I wouldn't say it was a jam.
Perhaps the closest descriptor that could be used is that Socalled was a Party. All of those things, and much, much more, happened during the set led by the very eclectic ringleader, Josh Doglin. Encouraged by and encouraging fellow singer Katie Moore, he seemed to go off on tangents on a whim (sometimes clever disguises to buy time while his samples loaded). Whether it be a whistled solo or an accordion riff, songs were composed in a variety of ways much to the delight of the crowd. During their "hit" finale, (These Are) The Good Old Days the folks under the tent were only too happy to be responding with the "Na Na, Na Na'"s while crowd-surfing the talking garden gnome. (Yes, that happened too)
Socalled didn't make much sense, but who cares how it is defined given that overall it was a hoot?
Flash Lightnin' and I don't mean the weather (Hillside '10)
"Sorry Sarah Harmer" was the call from Flash Lightnin' as I entered the tent that could be heard from across the festival grounds. This three piece was playing unabashedly hard for three minutes at a time, being sure to pack in a filthy guitar solo or two into that time. It was balls-out rock and roll that grew in intensity and fun, continually attracting people as it filled from twenty or so when I arrived to a full crowd by the end. The drummer's driving beat made sure the songs didn't hit any lulls while they layered licks on top from their lightning instruments. Joined on a track by The Beauties they got a bluesy vibe going but were soon back at the rock, with the guitarist playing incredible solos with his metal slide. Hell, at times they were givin' it as hard as any metal band. Flash Lightnin' have my vote for favourite single song of the festival with their self-titled (yes, as in titled after the band) song that shook the tent with stormy lyrics, drumming like thunder and guitar-work like lightning. Straight ahead awesome!
Royal Wood in the Royal City (Hillside '10)
Dressed to impress in a vest and tie, with his signature slicked hair, Royal Wood must have been warm while entertaining an Island Tent crowd early Saturday afternoon. I suppose sitting behind his piano (keyboard) for the first three songs mustn't have been hot work but after that jumping up to play some acoustic guitar the sweat must have been trickling down his back.
Come to think of it Royal was glowing throughout the set but that may just have been due to the great reception his beautifully composed music was receiving. Bringing his songwriting to life with a three-piece backing band Royal fed off the energy and for single On Top of Your Love he could be seen pounding the keys of the rather wobbly keyboard. A Mirror Without was such a strong ending to the set that the crowd wasn't about to let Royal go. In the first authentic and deserved encore I'd seen on the weekend we embraced him as he returned to the stage alone with his guitar for one more gem, Lady in White, to great ovation.
Brasstronaut Rockets to Hillside Fame ('10)
As the six-piece took the stage I recognized Radio3 host Tariq Hussain on guitar duties, while I had seen the bassist play previously with Dan Mangan. They launched into Old World Lies opener, Insects with the deep rumble of the stand-up bass under layers of keys, electric guitar and filling out the "brass" section, a horn and hardcore clarinet. The clarinet player could be seen giving it his all throughout the performance, even while playing his electronic clarinet and especially when clapping it out with intensity.
They played a new, as-yet-untitled song that mixed electric and acoustic guitar before Hand Behind brought out Tariq's lap steel. Mid-set Requiem for a Scene made quite a scene indeed with an epic instrumental ending. Following this up were Old World Lies then Lo Hi Hopes, coming across much like the album versions and then some live.
Although it may not be the best song they've recorded Hearts Trompet received a grand treatment live, as the end of the song approached and the members played themselves off the stage one by one until it was only the lead singer and drummer remaining. As the drummer pounded away on his kit the singer doused him repeatedly with water from his bottle but it did nothing to hinder the percussion. It seemed like a neat way to finish a set but no one complained as they retook the stage to soar through a Slow Knots knockout to wrap up Hillside's Friday night festivities.
Hidden Cameras Revealed (Hillside '10)
The Hidden Camera collective gradually emerged on stage, building up their opening number slowly and methodically before the horn section came crashing in. Frontman Joel Gibb really makes the most of his voice as an instrument, playing with it throughout the set along with emotive facial expressions. But there were many others on hand to lend both vocal and instrumental support for the show too. In fact the band numbered at least a dozen at points, including some guest vocals from beloved former Guelphite, Gentleman Reg. 
For Smells like Happiness the band was apparently joined by Basia Bulat though I couldn't tell as all members performed the entire song under the cover of red blindfolds (to correspond to the lyric "Happy we are when we choose to wear the blindfold").
Old and new songs alike were mixed into the set, with Origin: Orphans tracks, In the NA and a dark version of Walk On complementing classics such as Awoo with its perky xylophone component. Nearing the end of the hour everyone loosened up and band members could be seen dancing and smiling with each other while go-go flag wavers came out to dance at stage-edge. In crowd-pleasing fashion The Hidden Cameras spectacle closed down with band and crowd alike shimmying to the Death of a Tune.
Tuesday, July 27, 2010
Not the Holiest F*ck (Hillside '10)
As Holy Fuck was slightly delayed in getting going I squeezed my way towards to front, but not quite close enough to see the specifics of what was going on. The four of them were facing each other, overlooking keyboards and synthesizers, as well as a drum kit and bass guitar all packed together at center-stage. 
Expectations were supremely high for this pre-sunset set and people were stood everywhere, even on picnic benches. The group began composing their electronic masterpieces, ramping up the energy as the one member yelled occasionally into a vocoder. However it seemed that with the set amputated at either end it took too long to get off the ground and by the time it did it was practically over.
Don't get me wrong - people danced but it wasn't quite the unabashed, all-out dance party that I was really looking forward to. Even with more popular hits like Super Inuit, Lovely Allen and the recent single, Latin America there seemed to be some slight reservations. Red Lights was a personal fave and began to get the crowd really into it. Finally by the second last song most everyone was jumping along with the band and the anticipated dance party was on. Unfortunately this year they weren't Sunday night's closers so they had to yield the stage for another band and just as the fun had begun, the chord was yanked.
Stars over the Hillside (Sunday 2010)
Both humbled and incredibly happy to be closing Hillside Festival's main stage Stars put on a patently romantic set to spread a last dose of love through the crowd before we all had to return to reality. They came out under a Five Ghosts poster, a departure from the flower-strewn stage that has been their signature for some years now. Despite a fifteen-minute late sound check the sound was blatantly awful off the start with mics being off completely among other problems, but these were cleared up by the end of opener We Don't Want Your Body so the performance could become the focal point.
While pointing a spotlight back on us Torq proclaimed Hillside to be his favourite festival, a claim that is backed by his history of playing it as Memphis (2007), Hillside Inside with Stars (2009) and of course Stars opening for the Arcade Fire on this very stage in 2005. Amy was in great form in a sparkling dress and Cranley rocked some (hilariously) epic rock power-stances with his bass guitar. Most of the set was tit-for-tat Five Ghosts track for the usual suspects of older songs. A version of Going, Going, Gone had slower elements from the Nightsongs original, but brought more to life like the Sad Robots version. When Amy began singing over Chris' simple piano it really set the mood for a beautiful rendition of Midnight Coward.
With quiet hours looming over us the band stood poised for their final song and Amy said "You know what's coming" only to break into a less-than-stellar new song that signified to me that they'd be back. And they were, with the best Stars encore of the seven or eight times I've seen them. A touching rendition of the ultimate Stars lost-love duet, Your Ex-Lover is Dead was followed by a plea for One More Night. Sadly there were no more nights as another year of the Hillside Festival, dripping in all of the emotions supplied by an excellent Stars set, came to a gorgeous close.
[Set included Ageless Beauty, Take Me to the Riot, Elevator Love Letter and from The Five Ghosts Fixed, I Died So I Could Haunt You, Wasted Daylight, and The Passenger but unfortunately not Dead Hearts.]
Japandroids (Hillside 2010)
Whether it was the coveted Saturday night Island Tent closing slot or simply their preceding rep I can't be sure but people were pressing themselves to the stage in frantic anticipation of the Japandroids set. In fact rather than leaving the already full pit area following The Beauties, people were actually packing themselves in further. I use the word pit since soon after all the stage prep was complete for this powerful two-piece they launched into a mosh-pit inducing set. It was loud, it was distorted, it was incredible.
Introducing themselves by first names, Brian and David started out strong and carried that energy throughout the entire set - most of which Brian spent perched on an equipment case set at the foot of David's kickdrum. Speaking of the kickdrum, each pound reverberated through my chest as the wall of amps (and everything else) was cranked up to maximize the output from this small band that loves to pack a big punch. And with hard rockin' music, frenzied fans and a small, sweaty tent we had a volatile mix of elements. Security did their best to contain us, while the stage manager wore an intense expression throughout, but the crowd wasn't to be stopped. Crowd surfing, shoving and stumbling en masse ensued, though with this being Hillside everyone was simply out to enjoy themselves so no one would be hurt.
In celebration the boys popped champagne and after a couple swigs asked the audience to pass it back to their sound guy. In true Hillside fashion fans stopped their moshing to calmly pass the bottle along and I thought it had a shot of making it until Brian gave the OK to have "a little drink" along the way and so the bubbly started going down.
It was wild, the most wild I've seen a Guelph-lake crowd get and it made it a uniquely awesome set. With lyrics like "I don't wanna worry 'bout dying, I just wanna worry 'bout sunshine girls" and "Remember saying things like 'we'll sleep when we're dead'" it seemed appropriate to join the melee and belt them right out too. 
[Set list consisted of the latest two singles, Art Czars and Younger Us, plus the majority of Post Nothing with highlights being Boys Are Leaving Town, Sovereignty, Wet Hair and a stellar version of Young Hearts Spark Fire.]
Yukon Blonde Has More Fun (Hillside '10)
As much fun as The Hidden Cameras had been on the main stage, Yukon Blonde were taking it to a new level over by the lakeside. Arriving mid-set a massive, sweaty swarm of people had surrounded these musicians. A pretty typical four-piece band, they were bringing the straight-up ROCK and people were eating it up. To add to the party atmosphere streamers were flying every which way while patrons danced below. It is one of those situation where the band makes fine recorded music but you mix stage presence with a crowd that is ready to party and fun ensues. Anyone in attendance would agree!
Monday, July 26, 2010
Hillside Sunday 2010
Woo-eee. That was something else! Another Hillside down, and one exhausted blogger here. So many greats that it's gonna take some time to get through it all but I'll press onward. Sunday brought out the likes of Shad - as solid as usual, Holy Fuck causing a dance fracas, Hayley Sales blowing us away with that voice and finally having the finale slot go to Stars who did not waste the opportunity (best encore from them I've seen).
Tonnes of photos, videos and of course reviews to come real soon. For now, good-night, and good-year to another incredibly amazing Hillside weekend.
Sunday, July 25, 2010
Hillside Saturday 2010
Battling on-again, off-again rainstorms Hillside Saturday took a little while to get rolling. 
Royal Wood was the first set to really wow the audience, with his earnest songwriting and piano chops (though props should also be given to young locals, The Canned Goods for their dynamite Hillside debut.) Full credit to My Son the Hurricane for doing everything in their collective power to get a party started (and being somewhat successful). The Acorn were solid and Basia Bulat ran through a rain-shortened but pretty string of songs on the main stage. Kudos of the day belongs to Flash Lightnin' who came outta nowhere and floored us all with three-piece rock'n'roll; their set closer (not the much deserved encore number) stands as my favourite single song played so far this weekend. The anticipation for closers Japandroids was palpable as all levels were cranked to 11 and the place went off with the first legitimate mosh-pit I think I've ever witnessed on the island. (Full reviews to come.)
Whatta day, and with tomorrow's sun acts like Shad, Shapes and Sizes, Stars, Corb Lund and Holy Fuck plus a whole lot more are gonna shine!
Saturday, July 24, 2010
Hillside Friday 2010
Another Hillside is upon us!
Beardyman set the tone with an opening mainstage set that had a horde of volunteers grooving in what turned out to be evening sunshine (after highly suspect weather all day). The Hidden Cameras packed a dozen or so people onto that very same stage at dusk and included some special guests among them. Surprise party of the night went to Yukon Blonde who were already absolutely rockin' the little Island tent when we arrived - complete with streamers and dancing. While a highly anticipated set from Brasstronaut did not disappoint in any way.
Complete reviews to come but in the meantime there's only a few short hours to rest until it starts up again tomorrow with the likes of Royal Wood, Bent By Elephants, The Acorn, Basia Bulat, Grand Analog and Japandroids. See ya there!
Wednesday, July 21, 2010
Hillside Playlist
Uh-oh. A few short days 'til Hillside and besides Stars and that dude from the Hip you haven't a clue about any of the 65 bands scheduled to play the fest this summer. Fret not. I've got you covered with a Hillside playlist created especially for the purpose of introducing you to new artists.
Nearly 2/3rds of the acts are included here (the rest didn't have Radio3 profiles) and the best part of the list is that when you find an artist that catches your ear you are one click away from a smattering of information about them, plus MORE of their MUSIC.
Enjoy! (and you're welcome)
Monday, July 19, 2010
Rush Through Time
It was a few years ago upon hearing The Trees that I vowed that I would see Rush perform live. A few opportunities passed me by but on Saturday I snapped up the chance to catch the show, alongside my father, a long-time fan.
They'd apparently just taken to the stage as I entered and unlike Leafs games where the stands don't fill up til the end of the first, the ACC was absolutely packed. Fans of this legendary Toronto trio were in for a full night of Rush hits ranging from classics right through to tracks from their upcoming release, hence the appropriately titled Time-Machine Tour. To go along with this theme the stage was decked out with things that looked like a cross between front-load washing machines and old-school juke boxes that would alternatively blink or smoke. Regardless of this theme Neil Peart manned a massive drumset in his customary cap, Alex Lifeson made his guitar scream in loafers, a sports coat and jeans, while Geddy Lee had his signature glasses topping off jeans and a T. Unlike some bands from the past it is the music they play and not their fashion that makes them famous.
Pearts drumming has often been the headline for Rush, but Lifeson can really work his guitar, while I was also impressed with the fat bass lines emanating from Geddy's instrument. These were all featured in the first half that had a variety of hits and deeper cuts highlighted for me by Freewill.
Following an intermission (and a hokey video intro that saw the band acting, including Lifeson donning a fat-suit) we were given, as promised, Moving Pictures, front-to-back, in full. As they progressed from Tom Sawyer to Red Barchetta, the incredible instrumental YYZ to Limelight, each successive song kept replacing the last as my favourite of the show. The B-side wasn't half bad either.
Following this there were some theatrics. Not only were there indoor fireworks (that startled the bejeezus outta me) but there were also fireballs in time with some xylophone work. Neil Peart showcased his skills in an eight-minute drum solo that saw his 360-degree drumset spin around him while he never missed a beat. Following this, presumably to give Neil's arm's a moment's rest, Alex came onstage with an acoustic guitar for an extended intro into Closer to the Heart, a radio-staple that had a rousing reception. The hits came fast and furious now, with only the odd Snakes and Ladders or future release tossed in. During 2112 (part I, & II?) drumsticks could be seen flipping through the air as the crowd enthusiastically pumped along to the "Hey"'s.
Despite having rocked for closing in on three hours already an encore was heartily cheered for and received. Coming back on stage with an instrumental track they rolled into a reggae version of Working Man. Part way through the switch flipped and this massive hit rocked out in all its glory as a suitable closer to an incredible glimpse of the lifelong catalog of this city's "Working Band".
(Following the show a skit featuring the duo from I Love You, Man, the movie, played on the big screen. In character these two continued their devotion to "the Holy Triumvirate" by breaking into their dressing room, only to be caught by Rush themselves. And yes, Geddy Lee did "slappa da bass.")
Tuesday, July 13, 2010
Hillside Schedule Announced
Time to start arguing with your friends over which bands you're going to see cuz the Hillside 2010 schedule has been released!
Decisions, decisions...
Grand Analog or Japandroids? (Haven't seen either, leaning towards latter)
Zeus or Shapes and Sizes? (Seen Zeus a few times and trust Pop Montreal to have some interesting performers)
Corb Lund or an intimate with Gord Downie and Julie Doiron? (Corb is some of the only straight country I like, coupled with never having seen him, but that other option is so very tempting!)
Whoever's closing down the mainstage Friday night or Brasstronaut who I love and really wanna see.
Sunday, July 11, 2010
Paddle Slower Guelph
Music was emanating from the foliage where bicycles were strewn haphazardly. Following it back to the source I came upon an assorted crew of people canoeing, kayaking, wading, sitting, crouching and standing, perhaps 75 in all for the Paddle Slower Festival (July 10, Boathouse to Victoria, riverside). Everyone was either watching or listening to the band nestled among the trees at the edge of the river. Innes Wilson and His Opposition finished up and Whoop-szo broke out their melodica and banjo amongst other instruments for some space-appropriate music. A jar was passed around to contribute gas-money to the bands that were playing this inaugural free fest while we were directed further up river to the next "stage". 
Next stop consisted of JJ Ipsen playing acoustic self-admittedly sad songs considering the surroundings. However he swapped back and forth with Jenny Omnichord and her upbeat tunes (and dancing son) kept things light, especially her introduction to Del Shannon's Runaway.
The furthest point was perhaps the most bizarre. In the dust below the recently constructed concrete beast of a bridge at Victoria Street, Steve Sladkowski and a friend play some pop and free-form songs, and the traffic above did not interfere in the least (truly).
With the heat of the afternoon subsiding people took to their various modes of transport and meandered back to base camp - the Boathouse. Lisa Bozikovic already had her keyboard set-up beneath a large tree and once most people had made their way back she played a lovely set (including Take and Take). 
It was a most interesting idea for a non-traditional festival, one that originally seemed like it might be difficult to pull off, but as far as I could tell it was wholly successful.
Thursday, July 08, 2010
Busking For Change (Guelph)
Yesterday afternoon a really neat endeavor rolled into Guelph. Busking for Change brought a bunch of talented bands to St.George's Square under the scorching sun to play acoustic sets while raising money for War Child. It can't be said that it went off without a hitch, as the hosting band had car troubles, a few others dropped out at the last minute and the fervor of buses and World Cup rowdies all played their parts but regardless of all that the show must, and did, go on. A show including the Bass Lions, Craft Economy and more...
Members of Still Avenue hurried to the square to get things started with a meager setup, an acoustic guitar and some covers while The Balconies were broke down on the 401 with all the War Child signage. A female member eventually arrived and tried to make herself heard in the busy square. When I checked back later Sandman Viper Command were playing with a handful of musicians and a drum.
The Craft Economy with four of six members present reworked their tunes from their synthesizer base into acoustic jams. This was done really well, and the male/female singers played off of each other especially on songs like Big Dawg, Lil Purse.
Most of the Bass Lions couldn't make it but singer Nathan (I believe) did and accompanied by a tambourine-ist (tambouriner?) played a really entertaining handful of songs. It got intimate as he closed in on the small gathering and played a great acoustic version of Ransom the Sunset. Following a storied musical tale of the relationship between Owen Wilson and Wes Anderson the soccer game concluded. Taking the "if you can't beat 'em, join 'em" approach to the whooping and hollering, Nathan waved over a group of Spanish high schoolers who took over the guitar and serenaded us with what I take to be either soccer chants or Spanish folk songs. Unfortunately they didn't relent the guitar until after his allotted time was over.
From what I caught of it Busking for Change was a fun time, and hopefully it raised a couple of bucks for War Child while they were at it!
Tuesday, July 06, 2010
Owen Pallett Plays for Canada (Day)
It seemed a rather small gathering of fans at the Owen Pallett's feet for his free Canada Day show in Confederation Park, Ottawa but meant that I could scramble up close for one of my all-time favourite performers. As always he took the stage with modesty, removed his boots to properly work the looping pedals and launched into it. I've babbled on about how he recreates songs in the most fantastic ways before so I'll skip to the new aspects of this show.
For the first time Owen is regularly featuring a second musician on stage this year and after a few solo songs this man came out without prompting (later introduced as Thomas Gill). Mostly he picked up some guitar chords, though he'd also add neat percussion with a couple drums and padded sticks. There were new songs from the critically acclaimed Heartland including Lewis Takes Action and Flare Gun but the Final Fantasy classics (before the name-change) still went down just as beautifully as before. A prime example was He Poos Clouds which saw limited looping exchanged for loads of sweet violin playing, as well as a spot-on version of The CN Tower Belongs to the Dead.
Nearing the end of the set I broke my trance to realize just how many people had been pulled from their resting spots in the grass to take in the spectacle from up close. The hour+ set flew by, helped by enthralling songs such as The Butcher that drew silence from the outdoor festival crowd. Saved until last was Lewis Takes Off His Shirt, the song that still makes my hair stand on end as it brings me back to the spectacularly stormy performance at last year's Hillside.
Yet that wasn't enough and we demanded Owen play us another Song Song Song before a finale of This Lamb Sells Condos that had Thomas, and some of the crowd, whistling the violin parts. Owen never disappoints!
My video of his second song, which was a version of This is the Dream but I'm not sure it was "of Win and Regine" as the chorus lyrics do not say "Montreal might eat its young" but something else.. perhaps Ottawa?
Polaris Short List 2010
I think it is between Owen, Shad and Dan. Since Owen's already won it'd be a tight race between the other two and my personal bias would go to Dan. (Though I'm not familiar with either French entry - Karkwa or Radio Radio.) Along with everyone else I'll say that T&S should have been skipped over for YSP or Brasstronaut just for diversity.
1Dan Mangan
2Owen Pallett
3Shad
4Broken Social Scene
5Caribou
6Besnard Lakes
7Tegan & Sara
8The Sadies
?Karkwa
?Radio Radio
Monday, July 05, 2010
Canada Day Odds (Hey Rosetta, Cadence Weapon, K-OS)
Many people were complaining of the lack of headliners on and around Parliament Hill for this year's Canada Day (who are BNL without Steven Paige anyway?). Considering the entire day was free and included Shad, Elliott Brood, Owen Pallett and Hannah Georgas (who I missed unfortunately) I wasn't complaining! There was also an appearance from the Queen (as in "of England") who I also missed, but Hey Rosetta didn't pass me by. It would have been easy for them to though considering they took the stage in front of a ridiculously large crowd and only played Red Heart (c'mon, one song organizers?!) Also caught poet laureate, Cadence Weapon, do a cut I didn't recognize (likely from his forthcoming LP).
Most of the K-OS set was heard from the portapotty line-up. As usual it seemed playful, with a full band, two drum sets and plenty of riff sampling ranging from Black Sabbath to Journey to U2. K-OS also sang some of his own tracks like Crabbuckit and Sunday Morning with the operative word being "some" as he casually omits lines here and there much to my chagrin. With minutes to fireworks he broke out the O.C.-theme sampling I Wish I Knew Natalie Portman and very clumsily swapped out the lyrics from "California" to "Ottawa City". Let's just say in comparison to K-OS the fireworks really went off!
Saturday, July 03, 2010
Elliott Brood @ Confederation Park (7/1/10)
The trio had already taken to the stage as I sauntered up. Elliott Brood's country-tinged clap-along music fans were already beaming and people were converting by the song. Songs like Second Son and Without Again chugged out and they even borrowed from The White Stripes catalog with a blistering version of Hotel Yorba. Perennial favourite Oh, Alberta was perfectly geared to a Canada Day crowd with its Great White references but was upstaged by Chuckwagon which received the heartiest response of the day.
Shad K in the Capital (07/01/10)
The tent was full of plastic white chairs, and these chairs were full of mostly middle-aged people enjoying a peaceful rest in the shade after braving the Canada Day crowds and sun. Move in Shad supporters. As one of Canada's premier emcees, as always backed by DJ T-Lo, as well as a friend holding down bass and keys, took to the mic the young-uns began streaming in. The space immediately in front of the stage filled up with teens and twenty-somethings bobbing along to Shad's conscious-rap. As a dynamite performer he used his hour to entertain the birthday revelers drawing from his strong, recent effort TSOL. Included in the new ones he spit single Yaa, I Get It like the barrage that it is, but also slowed it up with Rose Garden and introduced himself with Good Name. Being a free show he relied heavily on popular crowd-pleasers like I Don't Like To and The Old Prince Still Live at Home. While a brief sun-shower fell on those patrons overflowing from the tent Shad was possessed to freestyle about it and his bald head at the end of Rock to It. The most rockin' song from TSOL came near the end of the show (We, Myself and I) before closing out with the roller-coaster of I Get Down and Get Up. Though the closer holds an uplifting message to go out on the crowd wouldn't have it and begged for more, receiving Keep Shining in return.
