Tennis & Sharon Van Etten @ The Phoenix – July 31, 2012

August 1, 2012 Written by Wini Lo No comments
Tennis & Sharon Van Etten @ The Phoenix – July 31, 2012

Sharon Van Etten’s tour with Tennis kicked off in Toronto last night, and it’s quite possible that the Phoenix has never been filled with so much earnest sincerity for a continuous period of time.

Tennis – fronted by Alaina Moore and Patrick Riley (now oft-referred to as “the husband-and-wife duo), accompanied by a bassist/keyboardist and drummer – emerged quietly onstage and launched into a well-rounded half-hour set consisting of selections from both their albums (Cape Dory and Young & Old). Light on in-between banter, Tennis let their songs speak for themselves. Moore did note that they were very excited to be touring with Sharon Van Etten and that since this show was the first of the tour, they were looking forward to watching her set.

Their live performance didn’t stray far from the studio versions of their songs, but to witness the sheer concentration demonstrated by Patrick Riley hunched over his guitar and Moore’s lovely singing with her eyes closed at the keyboard were testaments of their sincere delivery. For those who dismissed their debut album as gimmicky because of its overall sailing/travelling theme, Tennis’ live performance showcased that they are a talented band. “Petition” and “Marathon” drew the loudest cheers, but the audience’s continual enthusiastic dancing made it clear that Tennis wasn’t simply a throwaway supporting act for Sharon Van Etten.

When Van Etten took the stage, she did so similarly to Tennis – quietly. The hushed venue was so quiet – in awe, perhaps – as Van Etten adjusted her mic and guitar. With a smile, she said, almost shyly, “Hello. It’s nice to be back in Toronto,” before she and her band began to play.

To the right of the stage, random filmed images were projected onto a screen. Later in the set, Van Etten asked the audience if they were watching – “Don’t watch me! Watch the screen instead!” – she said with a laugh. She explained the videos and images were submitted via her website of things fans “thought were beautiful.”

The juxtaposition of Van Etten’s musical delivery and between-song banter was noticeable, to the delight of audience members (overheard several times: “She’s so cute!”). In music, she was raw, powerful and unabashed. Her voice was strong and emotional at times, perfectly complemented by her multi-instrumentalist (keyboards, guitar, tambourine, etc.) back-up singer, whom Van Etten introduced as Heather.

Between songs, Van Etten was gleefully awkward, quirky and playful. Her apparent shyness made it almost shocking each time she opened her mouth to sing. At one point, Van Etten was left alone on the stage and began to tune her guitar, when an audience member requested she play “DsharpG.” She immediately complied, putting down her guitar and walking over to the harmonium. She joked about forgetting the lyrics and that she hoped no one would notice. Her modesty was unfounded as her performance of the song was flawless and the audience seemed stunned and awestruck. Afterwards, she breathed a sigh of relief and commented on the heaviness of the song. “I wrote it after I dated a hardcore Christian, “she said with almost comedic delivery.

Much like Tennis, Van Etten was unequivocally sincere – both performances were authentic and genuine, with no bells and whistles. Between songs, Van Etten jokingly chided herself to become a better storyteller so that she could introduce her songs better, but then stopped herself to say, “But that’s what the songs are for. They fill in the blanks.” Exactly.

 

Childish Gambino @ Echo Beach, July 31, 2012

August 1, 2012 Written by Jack Ewing No comments
Childish Gambino @ Echo Beach, July 31, 2012

Donald Glover, the multi-talented media personality who started out as the sketch comedy writer/actor from Derrick Comedy, and has made us laugh our asses off as Troy on Community, is tearing it up from coast to coast under his stage name Childish Gambino. This guy really knows how to pump up a crowd. If anyone has ever seen any of his stand up or acting, you’d know how animated he is on those fronts. He brings all of that in his showmanship. It is one hundred percent clear he is feeling the beat in every bone in his body.

Let’s talk about that beat for a second, because it actually deserves several. Gambino doesn’t have your traditional rap artist set up. He has the real deal four piece band to back him up, and they know their stuff. It’s really refreshing to see the effort put in to really make it an engaging show. Who can argue that real violin on tracks like “All That Shine,” isn’t better than a violin sample. No one, that’s who. The rhythm that was being generated at times made it impossible not to move your body. Band members were equipped with their own floor tom to add to jams separately or all at once which created something that is just spectacular to see and hear.

Enough band gushing, back to Gambino. When you listen to tracks off his most recent albums, and even his mix tapes, you can hear he’s got serious flow and rhymes that are really clever. Seeing them done live just actualized how well he can actually pull them off. The set list was well planned out, primarily focusing on camp, with a bit of old and new thrown in. Energetic songs like “Bonfire” that demanded everyone go absolutely nuts, would transition to slower R&B jams where Gambino would put the mic on the stand and really put himself into it. The screens behind the performance showed at times distracting video editing sequences, but other times had excellent use of typography to present the lyrics, making the experience more interactive.

What was a little bit of a curveball was the encore sequence. He went on with another rapper and did some songs off of Royalty sans band. After a full set of the band rocking out and adding to the energy, the two of them rapping over mixed tracks just seemed a little flat. The rhymes were by no means unskilled, but the songs in total just lacked the punch that the earlier part of the night had. This was immediately made up for with a stellar freestyle jam with the two rappers and the band just improvising.

All in all if you want to go out and see a well-rounded show, with almost everything you want in a good time. Childish Gambino has it all. Awesome showmanship, killer band, and sweet tunes.

“I swear this summer will be Summer camp. Bitch.” - “Bonfire” Childish Gambino

 

Breathe Carolina @ Warped Tour, July 15, 2012

August 1, 2012 Written by Kurtis Hooper No comments
Breathe Carolina @ Warped Tour, July 15, 2012

The Silver Comet @ Warped Tour, July 15, 2012

August 1, 2012 Written by Kurtis Hooper No comments
The Silver Comet @ Warped Tour, July 15, 2012

We The Kings @ Warped Tour, July 15, 2012

August 1, 2012 Written by Kurtis Hooper No comments
We The Kings @ Warped Tour, July 15, 2012

Shout Out Out Out Out @ The Horseshoe, July 21, 2012

July 30, 2012 Written by Meryl Howsam No comments

I first stumbled upon Edmonton electro/punk band Shout Out Out Out Out by accident at a street festival in 2006, right around the release of their debut album Not Saying/Just Saying. I didn’t know anything about the band, but decided to stay for their set. When they took the stage with four bass players, they immediately captured my attention. I don’t remember much beyond that, except that they rocked out so much, they turned Yonge and Eglinton into a sweaty dance party (I’ll give you a second to picture that).

Fast forward six years to this show at the Horseshoe, still only the second time I’d see the band. It was about 12:30am, and three other acts had already played sets. I was tired, having been there since before the first opener had started, but was standing close to the stage and counting on what I remembered of the band’s performance to bring my energy up.

Turns out I didn’t even have to wait for the band to start: moments later, the tightening crowd began to (aptly) shout, “SHOUT! …Out OUT! …Out OUT! …….. SHOUT! …Out OUT! …Out OUT!” Eventually, the band took the stage to raucous cheering, which only intensified when the band announced that their first live appearance in Toronto had been at the Horseshoe.

Shout Out Out Out are first and foremost a live band. No matter how much effort is put into the recorded album, it’s impossible to fully capture their energy any other way. Hailing from Edmonton, the band is made up of their label’s bosses Nik Kozub and Jason Troock; Whitey Houston members Lyle Bell and Gravy; Will Zimmerman, and Clint Frazier. The current live incarnation sadly didn’t include four bass players, but did include two drummers and a whole lot of synth.

From the beginning of the set right to the encore, the energy was as high as I’d remembered. There was minimal stage banter — the band members danced onstage, moving quickly from one song to the next, which felt similar to a dance-club vibe. The loyal and pumped-up audience jumped, danced, and cheered (more choruses of “SHOUT! …Out OUT! …Out OUT!” ensued). Kozub’s singing was often distorted by a vocoder.  The two drum set players often synchronized their beats and twirled their sticks in unison.

Each song was carefully structured amidst the chaos, yet, a lot of the songs seemed to incorporate more melody and softness than would be expected from the dance-punk style (I haven’t heard the album in its entirety, but the songs in question were likely from the band’s new album Spanish Moss and Total Loss). I was most impressed by the band’s performance of these songs; they seamlessly fused the “human” elements into the danceable music, adding creativity and maturity without losing any of the trademark energy.

During the encore, “In the End it’s Your Friends,” some of the audience had finally begun to trickle out. Thankfully, the music had reinvigorated me enough to stay until the very end, and I semi-seriously thought Shout Out Out Out Out should play their own four-hour set (okay, maybe four sets with breaks in between). After this show, I don’t doubt they could do it.