Karkwa w/ Aidan Knight & The Belle Game @ Biltmore -- 09/20/11

Two and a half years ago, I went down to the Biltmore to hear this newfangled Vancouver band called Said The Whale. The show was some sort of pre-Olympics celebration, and as part of the "Cultural Olympiad", had a range of musicians, from Vancouver's STW to the Inuit Lucie Idlout to the band that played between the two, some French Canadian band I had vaguely heard of from CBC Radio 3. Turns out that night would be the beginning of my infatuation with Montréal's Karkwa. To this day I am still pretty sure that they blew out a speaker at the show, and from that night on I would rave about them to anyone that listened, and was definitely rooting for them for last year's Polaris Prize, and was thrilled when they won. And even though I had seen them once more since then, for a free show during the actual Olympics, I was more than ecstatic to see them in what was their first real Western Canadian tour. Especially because they had wrangled a couple opening acts that I would have seen on their own.

The first of which was The Belle Game, who I always enjoy seeing play, despite the fact that I've managed to see them four times in the last three months. Unfortunately I got in a couple songs late, but still caught the last half of their set, with "Shoulders & Turns" and their single, as part of the Peak Performance Project, the infectious "Sleep To Grow". They ended quite dynamically, as they are wont to do, with a newer song tentatively titled "We Left This Home", with Andrea pounding on the floor tom, front and centre, and guitarists Adam & Alex both almost getting right into the crowd for the finale.
There was also a neat moment where Katrina, who is originally from Montréal, addressed the crowd en français, to express how grateful they were to be sharing the stage with next two acts. (I think, at least. My French is limited to what I remember from Téléfrançais)

Second up was Aidan Knight, who is also a huge fan of Karkwa -- he even mentioned being at the same previous Biltmore show during his set -- and was visibly thrilled to be opening for them. It was a bit of a unique set for Aidan, as he had a bit of a different band backing him. Olivier and Julia were, as usual, on horns and keys, but they were only joined by Hannah Epperson on violin and Katie Schaan on cello. It gave the set a sound that was somehow both richer and more minimalistic.
Starting off with "Knitting Something Nice", the set also consisted of a few new songs, including one as-of-yet unnamed one with just Hannah (Aidan asked for suggestions as to the name, but I don't think he liked mine: "In Love With A Trumpet Major") and the heartbreakingly beautiful "Margaret Downe". And, of course, no Aidan Knight show is complete without his charmingly awkward stage banter. They ended, as per usual, with "Jasper", which had the crowd singing along, and some amazing strings to go along with it.

And then, it was time for Karkwa. Every once in a while I worry that I have psyched myself up for a show too much, and that the only possible outcome would be disappointment. But Karkwa hit the stage, double drummers and all, and my fears were immediately quashed when they launched into "Le Pyromane" to begin the set. The band has an absolutely incredible intensity as their wall of sound washes over you with driving guitars -- including some incredible solos -- and dual drummers who play off each other perfectly. Highlights of the set included the upbeat "Marie Tu Pleures", which had everyone clapping along, the somewhat dark "Le Bon Sens" and definitely "La Façade", which is up there as one of my favourite songs. After "Le Compteur" drove home their main set, they were back for another pair, ending the night with "Oublie Pas", and leaving the crowd drained, with faces melted off.

It was a show that will absolutely end up as one of my favourites of the year, and cemented Karkwa as one of my favourite bands; especially to see live. Connecting with an audience is hard enough without a language barrier, and it is a testament to the band, and Louis-Jean, that they were able to keep the crowd completely enthralled throughout the set. Earlier in the evening Aidan Knight mentioned that, cheesy as it sounded, Karkwa's music transcends the boundaries of language, and I couldn't agree more. I just hope that the packed venue (on a Tuesday night, no less) showed Karkwa that they have more then enough of fans in the west, and that they'll be back soon.

setlist
Le Pyromane, L'Acouphène, Échapper au sort, L'épaule Froide, Les Chemins De Verre, Dormir Le Jour, Le Bon Sens, La Façade, Marie Tu Pleures, Le Compteur.
[encore] Moi-léger, Oublie Pas.

Dan Mangan @ CBC Studio 40 -- 09/17/11

Gearing up for the release of his new album on the 27th, Dan Mangan took over Studio 40 at CBC Vancouver for a special unveiling of Oh Fortune, broadcast live on CBC Radio 3. Hosted by R3 announcer Lisa Christiansen, they started by requesting no applause between songs, and Dan explained that he wasn't going to be talking, just going to go straight through the album, with all the transitions between songs intact.

Joined by his usual cohorts, Kenton Loewen on drums, Johnny Wah on bass and Gord Grdina on guitar, they were also had keys and a section of strings, horns and woodwinds to round out the sound. Starting off with the awesomely-named "About As Helpful As You Can Be Without Being Any Help At All", they immediately made use of the awesome expanded instrument section, with a song that made me want to learn to waltz. "Post-War Blues" is a song I had heard live before and loved, but after hearing it on the album -- and especially last night -- it has quickly one of my favourite Mangan songs, driving to an explosive and emotional climax.
The rest of the set was a range of emotions from melancholy "If I Am Dead" to a little more more upbeat with the title track, "Oh Fortune" and "Daffodil", which despite still being emotional, still had Dan's sense of humour with at least one pun in the lyrics. On the surface, the album sounds very different from Nice, Nice, Very Nice, but is still very distinctively "Dan Mangan".
As the album drew to a close, they ended with the question-only song, "Jeopardy", and then the audience finally got to show their appreciation. There was a bit of banter, and Dan tossed some (very un-aerodynamic) t-shirts into the crowd, but they weren't done yet, as he played a few older ones. The ending of "Sold" has most people clapping along, and he brought the whole evening to a close, unsurprisingly, with "Robots", coming out into the crowd for everyone to sing along to the end.

It was a fantastic show, and as a person that always listens to albums front to back, it was an amazing experience to see pulled off live. Even though I have had the opportunity to see Dan Mangan live several times now, he never fails to wow me with his live performances.
And if you missed it, don't worry; it will soon be rebroadcast on the CBC as well as put out as a podcast soon enough.

setlist
About As Helpful As You Can Be Without Being Any Help At All; How Darwinian; Post-War Blues; If I Am Dead; Daffodil; Starts With Them, Ends With Us; Oh Fortune; Leaves, Trees, Forest; Rows Of Houses; Regarding Death and Dying; Jeopardy; Sold; Some People; Robots.

Peak Performance Project Showcase #2 @ Red Room -- 09/15/11

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands a year and makes them stars. The first year was won by We Are The City, and last year, Kyprios, with a ton of great bands and artists included as well.

Part one of the project was a rock & roll boot camp where they went on a week long retreat where industry pros helped them refine their craft. Phase two is a series of shows at The Red Room, four artists a night for five weeks, each playing a 45 minute set. In the last two years, the bands would all have to learn and play a cover of a classic Canadian song, but this year they will all be playing the songs they wrote about Vancouver for the Vancouver125 celebrations. Honestly, I am a bit disappointed about that, because one of my favourite aspects of the showcase series last year was seeing which song they picked and how they interpreted it. But I am sure their Vancouver songs will be great.

First up for the night was Avairis, whose three members took the stage one by one for a song that built up. They were kind of dirty, bluesy rock group and while they played off each other really well, I didn't really get into them that much. I definitely didn't think it was bad by any means, but it wasn't all that great either; it just... was.
They would, however, win if the prize was based off facial hair, and Duff has a really interesting story -- he was once in a plane crash and messed up his right hand, so he decided to switch and learn to play the guitar with his other hand.

Fields of Green was up next, and they were one of the bands that I had not heard much of before, but was intrigued to see live. With a bit of a prog-infused alt-rock sound and a crazy energy, especially the drummer, who was a maniac behind the kit. Though half way through the set they killed all of their momentum when, after trying to get the Red Room silent (which did not work at all) they decided to do a completely unplugged and unamplified song. I can see something like that being killer in a smaller venue with a quieter crowd, but as it turned out, anyone not in the first five rows couldn't hear a thing, and that really hurt. That being said, they did manage to regain some momentum and ended the set with even more energy than they started with. For the most part, I really enjoyed it, and definitely saw potential in the band; they're a little green right now, but given a few years of hard work, they could be huge.

Third up was Acres of Lions, who are one of the repeats from last year's competition. When I saw them a year ago, I thought they were okay; a decently fun band, though nothing much else. But they really impressed me this year with how much they've improved since then. They played a solid set of fun, upbeat rock songs, and had a really good stage presence, really pulling the crowd into it. The best example was mid-set, with their new single, "Reaction", which got everyone clapping and ba baa-ing along, and was sure to get stuck in peoples heads well into the next day.
Plus, any band that has a song about Firefly ("This Was Not My Best Day Ever") is aces in my books.

And rounding out the night was Current Swell. I had heard some of their stuff before the Project started, and I never really cared for them that much, so I had a bit of a bias going into their set. But they were a lot more rocking that I thought they would be, and they had a fantastic energy.
While there were still more songs I couldn't get into than could, there were a couple I really dug. "Cursed", which has a fantastic guitar riff throughout the song, was great live and their Vancouver 125 song, "Granvilletown", was also pretty fun. I enjoyed them a lot more than I thought I would, but (to be honest) I still wasn't really "won over" by them. I would probably see them live again, but likely won't be scrambling to get an album.

Maybe not quite as good as the first week, but still a damn fun show. And, on a side note, pretty much half of the Vancouver music scene was on hand to see the showcase, which is always great seeing all the love and support.
On tap for next week next week, we'll you'll see The Oh Wells, Ashleigh Eymann, Sex With Strangers and The Boom Booms.

Explosions In The Sky @ Vogue -- 09/09/11

I (as I am sure most do) have a list of bands I have not yet seen live, and need to. I had the fortune of seeing one of the top three bands on that list earlier this year when My Morning Jacket came through town, and now I have been able to cross off a second from that top three at the Vogue last night. I had heard tale and seen clips of Explosions In The Sky live, and so when they announced a Vancouver date on their latest tour, I knew there would be no power in the 'verse that could stop me from going.

First though, opening the show was Twin Sister from New York, and the best way to describe them would be if Björk covered the 80s. The entire decade. The lead singer had a very similar voice -- but much less... shrill -- and the songs were loaded with synth, with kind of a chillwave-indie pop sound to them. The songs were quite catchy, though, and the band had a pretty good stage presence and energy, joking about the "smoke machine" in the crowd and bantering with some of the people up front. Their set seemed to drag on a little toward the end, but was ultimately pretty enjoyable.

Then a little after 10, Explosions In The Sky hit the stage with Munaf Rayani taking the sole microphone to thank the crowd profusely for coming, and especially for selling out the Vogue since it was only their second time in Vancouver. They would be the only words spoken until the end of the set when he thanked us again, as the five of them started off with an older song, "Greet Death", which began softly before bursting forth with an intensity completely unparalleled. With the stage dimly lit -- back lighting for most of the set -- they poured through their instrumental post-rock songs nearing ten minutes in length, transitioning from one to the next seamlessly, with only the briefest moments of calm to catch your breath before more cacophonous crescendos of wailing guitars and crashing drums.

It can be hard, sometimes, for an instrumental band to capture an audience, but even though there wasn't a single word said during their performance, they had each person completely hanging off every note. It was astounding, the scope of epic sound that only five members can make, but it probably helps to have three guitar players.

Most of the songs played were from their last two albums, the newest Take Care, Take Care, Take Care and All Of A Sudden I Miss Everyone, but there were some older ones, too, and memorable moments throughout the show. During "The Only Moment We Were Alone", Rayani, on his knees, slowly raised his guitar over his head and thumped the strings -- accompanied by all the lights suddenly raising, bathing the theatre in blinding light. It was one of those moments that sounds cheesy to describe, but was breathtaking to see in context, and will be a sight not soon forgotten.

After almost an hour and a half, they wrapped up the set with Take Care's closing track, "Let Me Back In", playing right up until the curfew, without bothering to stop for the tired faux-encore bit. And even though the crowd was clamouring for more, Rayani came back out after a few minutes to say it was a great show for them, and if it was a great show for us, we should just end on a high note.

And I couldn't have agreed more.

setlist

Greet Death; Last Known Surroundings; Welcome, Ghosts; Trembling Hands; The Only Moment We Were Alone; Be Comfortable, Creature; Postcards From 1952; Your Hand In Mine; The Birth and Death of the Day; Let Me Back In.

Peak Performance Project Showcase #1 @ Red Room -- 09/08/11

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands a year and makes them stars. The first year was won by We Are The City, and last year, Kyprios, with a ton of great bands and artists included as well.

Part one of the project was a rock & roll boot camp where they went on a week long retreat where industry pros helped them refine their craft. Phase two is a series of shows at The Red Room, four artists a night for five weeks, each playing a 45 minute set. In the last two years, the bands would all have to learn and play a cover of a classic Canadian song, but this year they will all be playing the songs they wrote about Vancouver for the Vancouver125 celebrations. Honestly, I am a bit disappointed about that, because one of my favourite aspects of the showcase series last year was seeing which song they picked and how they interpreted it. But I am sure their Vancouver songs will be great.

Kicking off the whole series was The Never Surprise, joined by drummer Neko Friesen and Robbie Driscoll on bass -- both of which have played with just about all the bands in Vancouver. They started the set with some slow, folk-y songs, but as the set went on they picked up the energy a little. There wasn't too much banter, aside from some gratuitous "thank yous", but they all seemed confident from the start, which just grew as the set went on. A little bit of feedback struck them early on -- that actually persisted throughout the night -- but it was played it off quite well. They wrapped up the set with their Vancouver 125 song, which was probably the most energetic one they had. They were the crowd into it and clapping along, and it was definitely a good ending song.

Hilary Grist was up next, keeping the mood somewhat mellow with her singer/songwriter folk-pop style. Musically, I thought she was okay; a nice voice and catchy songs, but nothing that really stood out or that I hadn't heard before. But she did have a fantastic energy and stage presence. Coming out from behind the keyboard, singing at the front of the stage, she was great and getting the crowd into it. As the set went on there was a couple of nice moments, with the whole band came up to the front for a soft, cute song and one song consisting of a good sized brass section. She ended her set with a song that started off with just her, then the band joined in, then her large brass section came in as well, for a big ending with the crowd singing and clapping along.

Following her was Jasper Sloan Yip, who I had heard a few songs from, but for whatever reason had never seen him live or delved deeper into his work. But that will have to change, because he put on a thoroughly enjoyable set with a bit more rock in his folk, and a nice balance of slower songs and fun, catchy upbeat ones. Yip had an effortless charm to him, and he & his band all had a good presence on stage, and great chemistry, playing off each other really well. I also loved the addition of the strings, especially violin, to the songs, giving them a nice depth. He, too, ended with a big, grand, clap-along song -- which was a fun song, but had me wondering a little if someone told all the bands at bootcamp that was a good way to end a show.

Wrapping up the night was The Belle Game. I've had the chance to see their big, chamber pop sound a few times in the last couple months, and this was probably their best show I have seen them play. While they have never been lacking energy, this set had an abundance of it, with the members moving around more, being more dynamic. Members of the band would come up front and centre to show off, notably Alex Andrew on guitar and trumpetite Andrew Lee (on loan from The Ruffled Feathers) blowing his heart out for a couple trumpet solos, and a really good intensity from singer Andrea Lo.
And they also had a big, bombastic ending to their set, wrapping up the first night of the showcase shows with a bang.

Definitely a fun night, and a great start to the showcase series, which runs for the next four Thursdays at the Red Room. Next week we'll hear from Avairis, Fields of Green, Acres of Lion and Current of Swell