There's something about that Dan Mangan. An unmistakable likability, the way he can warm a room with his presence, charm a crowd with a flicker of a smile. Last night he proved that this can extend to hundreds of people at a time as he wowed an assembly of followers in the Church of Mangan. (Sacrilegious? It was actually held in Toronto's Trinity-St.Paul's Church.)
From the line snaking down Bloor West full of devotees rushing for front-pew seating (including me - success!) or procrastinating fans desperately hoping for a ticket at the door (was that Will Currie and TPC's Graham Wright I saw?), it was clear excitement was riding high for this show.
Before Dan could take the stage a few additional treats were bestowed upon the crowd that quickly filled up the small lower lever, before lining the benches in the larger upper auditorium. The Crackling came first and did a rather impressive job as a three piece making some 'beautiful music' (Dan's words, though I'll agree) sans drummer. The lack of drumming makes sense as the band is actually fronted by the drummer from Dan's band, Kenton, now manning an acoustic guitar, who is flanked by Gord the guitarist and Conrad(?) the fretless bass player, in their usual roles. Using both their vocals, sometimes in harmony, and their instruments, they really did create great music and knew how to add emphasis - primarily via footstomp.
A respected Canadian indie rocker turned singer-songwriter followed this up. Bry Webb under the guise of Harbourcoats did a set of purely acoustic songs which allowed his raw talent to show through. It is obvious but can't go without saying that his distinctive voice, made famous through his role fronting The Constantines, really sets him apart.
Finally it was time for Dan Mangan - though by finally I don't mean it, as it was only 9pm, and secondly he had already made an appearance as humble guest drummer for The Crackling's singalong, "I hear what you're saying". (Taking his spot at the drumset and wise-assing "So Stayin' Alive in B?")
The music may all fall under the solo heading 'Dan Mangan' but nine people took the stage for this performance, and though members came and left throughout various points of the evening, when the crash of nine instruments hit, it really made a thunderous impression. (Stand-up bass, acoustic guitar, electric guitar, keys/trumpet, trombone, drums, 2 violins, cello) Right from the start they gave us a taste of what they could do with a version of Sold that sucked in the audience and had a clap-along from song one.
It was actually a miscue during the second song that set the mood for the evening. Partway through You Silly Git Dan accidentally bumped his mic stand sending it oscillating in front of him, but in a mere moment, while sauntering back and forth with it, he hurriedly snuck in "..and the next line couldn't be more topical" before singing "I'm not as clever as I look". This was heartily received and from here out the evening's mood was good-natured and intimate, despite the size of the crowd.
Paring down to five members for Road Regrets they maintained the smaller line-up and went acoustic for The Indie Queens are Waiting. However this version required a pre-apology from Dan, "you'll see why". During the chorus band members would echo the lyrics, Veda Hille's recorded part, in near-falsetto voices which not only had the audience members in hysterics, but also got Dan going too with one glimpse of his bass player's scrunched up singing face. A normally sentimental song was given over to comedy but it was well worth it!
Also showcased this evening were a number of new songs. Showing promise from the very first, Post War Blues, it was a rocking song that began with military-like drums and ended up roaring as-much-as, or more than, any other Dan Mangan song released to date.
Tina`s Glorious Comeback saw the members forgo a drumset in exchange for tapping drumsticks and the shaking of a tambourine - complimented by hearty footstomping.
With only two guitars, bass and drums the core group introduced another as-yet unreleased song, Oh Fortune, which had ambient string scratching and cymbal rubbing.
The most stunning song of the night may very well have been a heartfelt version of Basket, introduced as an ode to his grandfather. Beginning with Dan alone he sang emotively while picking his guitar. With everyone fully drawn in, the bass joined, then the violins and the song built to crescendo, before returning to bare guitar and voice. Incredible.
The only way to follow this was with Fair Verona which had a similar structure of quiet, working up to huge heights before coming down again.
Having been treated to a few lush, layered songs it was time for a change of pace. As everyone but Dan exited the stage we were told we were about to witness the first ever playing of this song for any audience - not even the band had heard it. What followed was a courageous song, one that asked many questions ranging from anger to sorrow and absolutely hit its mark.
To add yet another dynamic to this already impressive show the band, minus violins and cello, returned for a cover song - Elliott Smith`s I`m Gonna Love You Anyhow. R.I.P.
A pick-me-up was offered in the form of Some People. The improvised instrumental interlude showed the band`s chops and sounded pretty great, before bringing it back around to finish off the tune.
In finale, perhaps predictable but no less appreciated, they burned into Robots. The silly song that everyone loves to sing along with. And boy did we sing, as Dan leapt from the stage into the aisles we leapt to our feet, and as he climbed onto the back of a pew our voices climbed to the rafters. It was an uplifting experience, one might say magical or even holy considering the appropriate setting.
With looks of genuine appreciation, mixed with charming humility, Dan smiled and waved as he left the stage met by our natural standing ovation that carried on from the close of the set.
Just as naturally the five main members (keys included) returned for an absolutely necessary encore. In a bit of a twist they played another new song, inspired by the movie Stand By Me, that was excellent and seemed to have the quintessential 'Dan Mangan' feel.
Joined by everyone on stage, and from the sounds of the angelic voices, everyone in the church, the closer was So Much For Everyone. A beautiful song in its own right it is brought to a whole new level fully unplugged. As Dan's guitar & voice intro works up to the song's breakout and he is joined by the better part of one thousand voices united in the love for his music, it sends chills. Euphoric!
Friday, October 29, 2010
Dan Mangan and The Crackling, Harbourcoats (Trinity St.Paul's Church, Toronto Oct. 28)
Saturday, October 23, 2010
Wintersleep Live Up to their Potential (Vinyl, Oct.21)
Both previous times I’ve prepared to see Wintersleep I’ve listened to their records and dreamt about how amazing it the live show should translate. Yet both times I’ve been let down – mid-afternoon Hillside Inside set, and openers to a half-empty gargantuan Toronto Amphitheatre from half-way back. Each time I’ve thought “if only they could play in a sweaty, crammed little club where the fans are stoked to be there specifically for them”. Last night at the Vinyl my wishes came true and it was absolutely everything I could have hoped for.
Shoulder to shoulder with fans the energy buzzed in the darkness while the air filled with smoke. Finally the anticipation was sated as Wintersleep took to the stage and proceeded to rock our faces off. With well-composed songs and accomplished musicians playing them, they really know how to build a song up to epic proportions that make you lose your place in the swirl of guitar and drums. It didn’t matter whether the songs were new or old throughout the night because the band was feeling it, and the fans actually gained energy along the hour and a quarter of mindmelding music. Just as New Inheritors tracks like Preservation, Baltic and Trace Decay build and improve as they go along, so did this show.
A fine subset of Welcome to the Night Sky was included too, such as Archaeologist that played well with keys traded for tambo and a modified chorus, while Dead Letters.. was simply and purely awesome. The crowd sure was pleased by the early-set back-to-back accessible hits of Weighty Ghost into Oblivion while deeper cut fans must have been blown away by the full rendition of that album’s closer Miasmal Smoke & the Yellow Bellied Freaks that also closed this set.
After going out with a bang (figuratively, and literally – burst of confetti) the crowd hollered for a legitimately deserved encore and the efforts fully paid off. They led with the repeatedly requested Orca, dating way back to 2003 from the bands first self-titled effort, and it was appreciated. Finally they hit on 2005’s release, finishing oh-so-strong with the neatly drummed Danse Macabre letting us all yell out “Oh you had such big, big plans!” Well my plan was to take in Wintersleep at their best, in this well-suited situation and that’s exactly what I got; one of the best live shows in recent Guelph history - or anywhere for that matter.
Nearly Complete Set List
Drunk on Aluminium
Encyclopedia
?Trace Decay
Dead Letters & the Infinite Yes
Black Camera
Experience the Jewel
Weighty Ghost
Oblivion
New Inheritors
Preservation
Archaeologists
Baltic
Lasers
Miasmal Smoke & the Yellow Bellied Freaks
Encore
Orca
Danse Macabre
Rah Rah open for Wintersleep (Vinyl, Oct. 21)
The evenly mixed-sex, sextet on stage known collectively as Rah Rah were performing their driving pop, lead by earnest drumming. They burst out with Betrayal Pt. 1, including male/female vocals, violin and plenty of energy. Carrying on in short time they covered the infectiously ridiculous Going Steady hit, Tentacles, as well as its record-mate Fuck NAFTA. Like their Saskatchewan brethren (and sistren(?)) of Library Voices they really know how to make a catchy hook and back it up with nearly frenetic pop instrumentation – keys and accordion included. That or burst out in the middle of songs like Henry with lines such as “Hey Henry, you better lock that shit down!” The female drummer who had been clanging a cymbal with a tambo earlier then doled out extra sticks to any bandmate with a free hand and they tapped out Beaches all over the joint (speakers, walls, mic stands etc.) – a highlight for sure. Unfortunately there wasn’t much more time for other highlights as they had a sick member so they tossed in a Duet for Emmylou.. and took off after playing for about as much time as it took them to sound check. Not even enough time for recent single Arrows – which leaves a reason as good as any to catch them on the next fly through.
The Noise and the Ghost are four guys from Guelph who had the honour of opening the evening. Catching only the closing few numbers they held their own with some chill roots rock, tossed in a few decent electric guitar riffs (and had an acoustic going too), before closing off with a Wilco cover.
Thursday, October 21, 2010
Danny Michel & Emma Lee (Dublin St. Church, Oct 20)
Whether plucking her guitar or pounding it in a percussive-strumming manner Emma Lee’s voice soared above. Her singing is strong right across her impressive range, easily filling the open hall of the Dublin Street Church. Her whistling is nothing to scoff at either, as she proved with a fully-whistled verse – just another element of a diverse show. From beneath her hat she mixed storytelling with lovely and at times revealing songs, including one penned alongside Ms. Jill Barber. An enjoyable set from a performer who comfortably mixed brand new songs into a set book-ended by Never Just a Dream songs That Sinking Feeling and Until We Meet Again.
Danny Michel has a proven fan base, no doubt built up from putting on quirky and fun performances over the years. This show was no different as Danny played, with an emphasis on playfulness, a solo show to a large gathering. Foregoing introduction he took the stage and launched into song with his trusty red electric guitar. His silence didn’t last long though as the atmosphere was kept light with stories, new and old, as well as questions from the audience. He even solicited requests only to jokingly ignore most of them, though he did bend to include his harmonica and I Will Love You For Miles to appease two shout outs. Whether it was recently released songs or back-catalogue tracks, Danny kept things interesting with loops, curious glances, and occasionally unique and unexpected delivery.
Having seen Danny solo recently, and knowing he’d recently been touring with a full band I was slightly disappointed when they weren’t there. Especially for Sunset Sea cuts that really snap on record with their full, upbeat sound that just can’t be duplicated with only a guitar, no matter how many layers of loops are added. That being said, if the band had been there we may not have witnessed as much quirk, or as many new takes on old songs, so it is a trade-off.
All in all the audience seemed pleased, both old fans and new converts alike. A two-song encore was demanded and saw the aforementioned harmonica, as well as an electronic sound-effect solo that was pretty neat. Danny Michel, entertaining as always.
Set List after the Jump
Into the Flame
Maybe You Can Find It In Your Heart
Sweet Things (yes, rock and roll ending, in a church)
This Feeling
Feather, Fur and Fin
Whale of a Tale
Wish Willy
Bank Robber (quick Clash cover)
If God’s On Your Side
White Lightnin’
Who’s Gonna Miss You?
Tennessee Tobacco
Encore
I Will Love You For Miles
Switchman
Friday, October 15, 2010
Sunparlour Playas (eBar, Oct 14)
The Sunparlour Players are one of those bands. Like Shout Out Out Out Out and The Burning Hell their recorded music is fine and all, but it is the live show where they really take off.
As they were soundchecking I was worried that Guelph had forgotten about this as the eBar seemed to have cleared out to some degree, but when the banjo broke out the crowds came flocking, seeing as we are what singer Andrew Penner described as their pseudo hometown. What better place to kick off an extensive tour?
And kick it off they did.
The raucous three-piece ran through a serious amount of favourites from both of their previous two albums, much to the delight of the attentive and responsive people clapping along up front.
The key difference to the live show seems to be the drumming. Not only is he lined up at the front of the stage along with his bandmates, but Rosie is seriously killer at percussion - multi-talented too! Most tunes saw a xylophone rested on his set being played by one hand while the other manned the drums, and the kick leg kept the beat. He even broke out the accordion a few times.
Dennis celebrated his birthday by accepting a spontaneous outpouring of fan-led 'Happy Birthday', a couple of pints, and then rocking out the guitar and banjo. He even set banged on the "The" kickdrum and cymbal for a few tunes too like Dyin' Today. (The band is still rocking the rattiest looking kickdrums which at one point were painted one-word-per-drum "The" "Sunparlour" "Players".)
Hollerin' and singin' is what Penner does best and last night was no exception. Belting out old favourites like John Had a Bell and a Whistle and If the Creeks Don't Rise from Hymns for the Happy he sure did make us happy. Also give him some creativity points for hanging a windchime from the stem of his instrument, and tying bells to his boots for other songs!
It was a full, energetic and upbeat set but we still wanted more. An encore screamed O'Captain, the movie-soundtrack tune Bless this City and once again a distinctly Sunparlour version of Thunderstruck! Can't wait for the new album sometime next year, and surely a tour to boot.
Sunparlour Players Set List:
Wall Sisters
Battle of '77
Joy in What You Lack
Nuclear
North
*New Song?* "Your Grandfather"
Point Pelee is the Place to Be
Pacifist's Anthem
If the Creeks Don't Rise
Dyin' Today
John Had a Bell and a Whistle
The Detroit River is Alive
Encore:
O'Captain
Bless this City
Thunderstruck
Hoodie Good, Modern Field Recordings (eBar Oct 14)
The recognizable eBar/Hillside sound guy, Jordan, has a solo musical incarnation. It's called Hoodie Good and it is pretty good. Primarily a one-man show he plays guitar, sings, taps some keys, bangs drums, and sometimes runs a drum machine, and loops a bunch of this - all while barefoot! It was entertaining, even Tiffany's I Think We're Alone Now. Highlight was when he had a backing trio chanting and hollering along while the intensity ratcheted up and Jordan fully circled the stage, working from guitar, to beating the drums from all sides and back to his guitar. Check out the CD that was released this night, and then watch him do it live next time.
Modern Field Recordings had a stand-up drummer and a stand-up bass but the music went along more with the seated singer/guitarist, and his wooden box tapping counterpart. The songs would start out with promise but the level never elevated - the set never took off. Fun instruments like the melodica - even a synthesizer! - still didn't quite break through. I think they're okay with this since the singer did note "We want to be a band you can dance to, but we like chilling out too much."
Friday, October 01, 2010
Missing the Action
Dear Vernacularists,
Or should it be Sandrushers? Either way, Dear YOU - reader of the blog. This may come as a disappointment to you, but trust me I'm taking it harder. With all of those wonderful shows upcoming in Guelph (check the sidebar ->) I sadly find myself out of town for the foreseeable future. That means I likely won't be around to document many of the shows. Sad, truly sad.
Depending where the job market takes this computer programmer/physicist/blogger extraordinaire I hope to pick up where I've left off in my new city, town or village. Unfortunately my current location is practically scene-free so things might be a little quiet round these parts for the (hopefully) short term.
Don't worry, upon my return I plan to woo you all back via descriptive reviews and whispered sweet nothings.
Until then!
Stefan
