Canadian Musicfest - Charlotte Church @ El Mocambo, Toronto (March 23, 2013)

  Charlotte Church: photo by Michael Ligon

Charlotte Church (yes, that Charlotte Church) came to town last month for a show at El Mocambo during Canadian Music Week. The Welsh soprano who's mainly known as an angel-voiced classical singer whose prodigious talent was first introduced to the masses in the late 90's before she even hit her teens. She branched out into pop in the mid-2000's with her album Tissues and Issues and then came back in 2010 with a singer-songwriter pop album Back to Scratch but at that point, although she was off my radar for that whole period. When I saw her name on the Canadian Musicfest lineup I didn't even have the intention of including her in my CMF schedule but when I checked out the video of the live session [her song "Nerve"] she did for The Line of Best Fit, I was actually floored. She's yet again branched off into a different direction, still displaying her powerful yet nuanced vocals but at least as displayed from the Line of Best Fit session, she's embraced an edgier musical direction.

Having been a Live Nation show meant that my CMW media pass didn't allow me to take photos at the show since I'd not gotten approval through Live Nation. I found it a little surprising, that on name recognition alone and that the festival had been prominently promoting her as one of the festival's feature acts, the El Mocambo was at most a little more than half capacity for Charlotte's set. It took a bit of time to set up after the openers (Folly and The Hunter), but then the band took the stage, with Charlotte eventually strolling on. Her wardrobe, her dress and face paint that was on the theatrical side, reminded me a bit of Bat For Lashes or the wilder moments of Kate Bush which was almost a disappointment since I was hoping to see the down-to-earth look she had in The Line of Best Fit session. But the theatrical look that Charlotte had this night never became a distraction once she opened her mouth. As was quite apparent from her set, she hasn't totally abandoned her classical vocal stylings - her vocals were quite powerful when they needed to be [with Charlotte soothing her voice with honey between songs], but there was also more nuance as she added a gentler touch at times, and wasn't afraid to even add effects to her vocals like vocoder or use a loop pedal. Musically, it was a mix of organic and electronic, post-rock, pop and ethereal, with two drum kits, guitars and keyboards, augmented at times with electronic flourishes. Performing songs off the first two EP's (of a series of five E.P.s) entitled One and Two respectively and even introducing a new song to the audience [which she'd prompted the audience to feel free to slow dance to the saddest song in the world], the mature musical direction that Charlotte has taken this time around feels quite natural and intensely satisfying.

Photos: Charlotte Church @ El Mocambo, Toronto (March 23, 2013)
Facebook: Charlotte Church
Twitter: Charlotte Church
Video: Charlotte Church - "Nerve" (live session for The Line of Best Fit)
Video: Charlotte Church - "Nerve" (live session for Saturday Night Show)
Video: Charlotte Church - "Glitterbombed" (music video)
Video: Charlotte Church - "Glitterbombed" (Live Jonathan Ross Show)

NXNE (June 13-14, 2012)

  Purity Ring @ Wrongbar: photo by Michael Ligon

I went a little less hardcore during NXNE this year and yet I'm still late on posting about it. Overall there were some good new artists I'd discovered year this although no one had really grabbed me outright like some artists had in previous years. With that said let's get to it.

Wednesday June 13, 2012
I started off the first day of the festival, Wednesday, first picking up my media pass at the Hyatt Regency and then being drawn to a Q & A happening in the same room, with the crew of the YouTube episodic sensation Epic Meal Time. I'd never seen their videos but it was apparent more than a few fans in the audience. The mandate of the show is sort of a mad-scientist's approach to creating these high-calorie, high-fat, fast-food dishes, and then eating them on camera. The show's founder and spokesman Harley Morenstein was a natural comedian as he fielded questions from the audience. And as I've sampled a video of theirs or two, I can see that they appeal to an audience who are curious and who also find what they do humourous. Behind any chuckles I may have had during the Q & A, in the back of my mind I was thinking, how can they eat all that effin' bacon. I can't fathom seeing them continuing their schtick for more that a few years before they start running into health problems.

Feeling a little guilty that I'd not made it to any of the launch events for the first three issues of local grassroots music publication Static Zine, I made a conscious effort to head over to new vinyl / vintage goods store Of A Kind (on College St. near Dufferin) for a NXNE in-store musical showcase which was also doubling as the launch party for the fourth issue of Static Zine. It was a pretty good turnout as individuals sauntered around socializing, checking out the new issue of Static Zine, browsing the merchandise in the store, and of course checking out the bands playing sets throughout the early evening. I'd only arrived in time for the last band, Vancouver's Indian Wars.

Indian Wars @ Of A Kind (8 pm) ----- As the band quietly set up and then segued into their set, the previously mingling crowd quickly switched gears to taken position and listen to the band. With the lead singer's Bob Dylan-esque vocals, the band excelled with their reverb-filled, at times twang-ified garage rock tunes. Not necessarily innovative, but in its own way it sounded fresher than I'd anticipated. The band's debut full-length Walk Around The Park was released in 2011 through Austria-based Bachelor Records. Although my original intention was to perhaps check out Toronto shoegazers Beliefs at the Drake, I opted instead to skip it (since they were playing the next night) and call it a night.

    Photos: NXNE, Toronto (June 13, 2012)

Thursday June 14, 2012
With original plans to go to Toronto Islands for the free-with-RSVP Jansport Bonfire Sessions featuring Smith Westerns and Dusted following through - the lineup was too long and that I found out it would have gone on later than I expected - I bailed and headed to Yonge Dundas Square to take in some punk rock, food truck goodies (Busters Cove) and some freebies (Candy, ice cream, entry drinks). And then it was off for the night to see some bands.

Beliefs @ El Mocambo (9 pm) ----- Local 4-piece (3 guys, 1 gal) shoegaze outfit Beliefs drew a decent sized early crowd. Purposely muddied vocals, and a slightly sludgier take on the shoegaze genre, perhaps a simplistic description is Dinosaur Jr. meets My Bloody Valentine. The male / female vocals makes them a bit more essential than they'd otherwise be had say it only been male vocals. A good, although not entirely distinct set, but a good start to the night nonetheless.

Hooded Fang @ Horseshoe Tavern (10 pm) ----- Since the last time I'd seen the band live back in August 2009, Toronto's Hooded Fang have gone through a bit of an evolution from it's twee-pop, horn-embellished beginnings to a edgier musical personal. The 2009 version of the band, while having their charms, were like a group of high school musician kids working out their growing pains on stage. A few years later and the band (which seems to have downsized and changed membership a bit) seem more confident and at the same time dropping their twee side for set of edgier influences with echoes of Talking heads, new wave and punk within their sonics. These days even vocalist Daniel Lee has dropped his croon for a singing style that's grittier. It was a nicely packed audience encompassing mostly the young'uns making me feel old, but that aside, it was an enjoyable set.

Grass Widow @ Garrison (11 pm) ----- San Franciscan female post-punk guitar / bass / drums trio Grass Widow whose previous album Past Time was released in 2010 through Kill Rock Stars (and whose most recent album is this year's Internal Logic) are the very essence of what reminds me of the Kill Rock Stars label - a D.I.Y. approach to punk-ified, pop music. It was a pretty healthy crowd on hand, although I wasn't sure whether they were all there for Grass Widow or perhaps were there early to secure a spot for the the buzzier later bands of the night, The Black Belles and The Men, but with each spunky song that the group rattled off, the crowd seemed to be enjoying it. Less girl-group pop than their peers Vivian Girls, Dum Dum Girls and the like, Grass Widow (whose name to me seems apropo) favoured a grittier, not-as-straightforward melodic approach. The band's minimalist approach had its charms and I imagined I'd be far more into it back in the 90's during my American indie rock phase, but otherwsie they were just ok.

Dusted @ El Mocambo (midnight) ----- At this time slot my original plan was to see L.A's Bleached at the Silver Dollar but upon reaching that venue I found another band playing (later finding out that Bleached's set had been moved to 2 am). It was purely spontaneity that I wandered down the street to the El Mocambo and upon finding out that Dusted (a duo that included Holy Fuck's Brian Borchedt) was playing, I decided to check it out. With Brian on drums and vocals and Leon Taheny on drums/,keys the duo's set did quickly establish the group's meat-and-potatoes, gritty, pop sound. One of the sleeper sets of the festival for me, I sauntered into that set not knowing the group but came out a convert. I'll be interested in hearing their just-released debut album Total Dust out now through Hand Drawn Dracula in Canada and Polyvinyl in the US.

Purity Ring @ Wrongbar (1 am) ----- One of the buzzier sets of the night, I'd travelled in the direction of the venue, half-expecting to not get in. Even from the streetcar as it passed the venue, I could see a long lineup. Still, I decided to get off the streetcar and on closer inspection found out that there was a separate lineup for passes, and before I knew it I had bypassed the lineup and was in, but just barely - it was packed to the rafters. The Montreal duo, consisting of Megan James (vocals) and Corin Roddick (instrumentals) seemed to have garnered a lot of attention, recently being signed by 4AD, with the band's debut full-length Shrines set to be released July 24, 2012. So while I could hardly see the band from my vantage point which was towards the back, I was fully engrossed into the duo's scintillating, electro-pop sound guided by the atmospheric vocals of James. Colourful lighting danced against the band's small stage backdrop, illuminating the duo enough at times for me to catch just a glimpse of them. Overall it was a well-received set and I hope to catch the duo live another time.

    Photos: NXNE, Toronto (June 14, 2012)

Anna Calvi, Cuckoo Chaos @ El Mocambo, Toronto (May 27, 2011)

  Anna Calvi @ El Mocambo: photo by Michael Ligon

Update [June 14/2011, 11:14 pm]: Review now up.

One of the more anticipated draws of this year's Canadian Musicfest this past March was suppose to have been UK artist Anna Calvi who was suppose to have played a hotly tipped showcase at Wrongbar but when she cancelled the show plus a string of others due to an unspecified injury I'm sure it some disappointed. Ever since then I'd not even got around to sampling her wares but still was somehow compelled(based purely on the buzz surrounding her) to purchase a ticket to her show at the El Mocambo which took place a several weeks ago. Although press on Ms. Calvi from the local media and blogs seemed to be at a low rumble leading up to the show, the packed house did indicate otherwise that Toronto fans (or at least a segment of them) were still intrigued to check out the Toronto debut of this ingenue.

San Diego five-piece Cuckoo Chaos had the task of opening the show and were overall semi-successful. Admirable but not entirely revelatory, a modern point of reference would be Vampire Weekend as Cuckoo Chaos display at times a similar afro-beat means indie sensibility, although with less smugness and a bit more volume. The band's west coast origins also appears to have rubbed off in their music with at least of an ounce of a surf vibe in the band's African-influenced guitar melodies. The band in actuality are probably more influenced by the Talking Heads (rather than the Heads-influenced Vampire Weekend) even recounting them gushing over David Byrne who happened to take in their show at the Bowery Ballroom a few nights before - although Cuckoo Chaos vocalist Jackson Milgaten grinninly pointed out that Mr. Bynre was very likely at the Bowery to check out Miss Calvi. Cuckoo Chaos further into their set displayed more straightforward punk tendencies on at least one song which seemed to come from left-field but did show the band's versatility.

It's seldom these days it seems that I come across a new artist that leaves me awestruck but Miss Calvi did just that. Anna came onto stage with her hair tied back and wearing black pant suit and heels displaying a visual resemblance that reminded me of German actress/singer Marlene Dietrich. Along with her was a drummer and multi-instrumentalist/percussionist to fill out the sound. Her bandmates aside, it was Calvi's vocals and electric guitar which were front and centre. Playing songs off her debut self-titled album out through Domino Records, there was a myriad of influences that seemed to infuse her songs ranging from a southern gothic, twangy, guitar sound to the torch-song quality that infused her vocals. And if I had to pick her musical peers it'd probably be PJ Harvey and Nick Cave.

The beginning of her set, such as on her song "No More Words" in particular, started out with whispered vocals, brittle guitar, and lightly tapped drums and percussion quite a subtle display which at the same time made it quite apparent to the crowd of the hard-rocking band playing on the second floor. But soon, Calvi would cut loose with her expressive vocals and brash guitar playing on songs like the adrenalin-rushed "Blackout" or the gender-role reversal, early PJ Harvey-sounding "I'll Be Your Man". It was songs such as these that the crowd gravitated the most. On the other hand I was quite taken by the quiter, less-harsh material such as the romantic, grand-sounding "First We Kiss" or Calvi's twangy, southern gothic rendering of Elvis Presley's "Surrender". Nary a word from Miss Calvi between songs, but it didn't matter anyway because she'd already grabbed a hold of our attention with her music. Her one-song encore, an urgent rendition of Edith Piaf's "Jezebel", practically bowled the crowd over, as Anna passsionately uttered "Jezebel" as the drums and guitar came to a stop-on-a-dime conclusion. Utterly wonderful show.

Photos: Anna Calvi, Cuckoo Chaos @ El Mocambo, Toronto (May 27, 2011)
MySpace: Cuckoo Chaos
MySpace: Anna Calvi

A Certain Feeling

concert review: Bodies of Water, Port O'Brien, The Ghost Is Dancing @ El Mocambo (Toronto, Ontario), August 8, 2008

Perhaps Toronto's own Bruce Peninsula who performed last Friday night at Whippersnapper Gallery stole many an indie fan from attending the show at the El Mocambo that night, or at least I like to think so considering the relatively sparse turnout for the triple bill of The Ghost Is Dancing, Port O'Brien and Bodies of Water.

Toronto's The Ghost Is Dancing travels the now well-worn path towards a collective indiepop racket utilizing group singing, handclaps, and simple yet effective rock musicianship plus a little trombone. In an indie world that's already full of indiepop collectives (eg. The Hidden Cameras, Architecture In Helsinki,etc...), The Ghost Is Dancing are perhaps only as essential as you want them to be. They do however perform energetically and competently and do live up to the last part of their name(ie. dancing) which both band (well at least some of them) and the audience (at least those near the stage) were doing. It's a shame though that there weren't more people as I could have imagined the band creating quite the frenzy.

Oakland, California's Port O'Brien were a little harder to peg musically in my opinion. In all simplicity they are a rock band, though their sound hints at influences like country, folk and modern indie rock sensibilities. I was reminded of Neil Young and Crazy Horse on one instrumental jam they performed. Other times, they gave off an alt-country vibe especially with the prominent use of banjo on many songs which was performed by lone female member/cutie Cambria Goodwin who physically reminded me a lot of actress Mila Kunis. In terms of indie rock, there was a casual flair to their performance (with the band even inviting members of the audience to choose a percussive instrument from their tickle trunk of instruments and come onstage for their last song), and lead vocalist Joshua Banhart has the sort of imperfect though full-of-character vocals that lends itself to the looseness of the band's sound. And when they want to, like on song "Close The Lid", they deliver fully-charged melodic indie rock like the best of them.

The last time I saw Los Angeles' Bodies of Water live was in March 2008 at Lee's Palace (when they opened for Sons and Daughters) and it's difficult to expand on what I wrote about them back then. What I did appreciate about them back then that I still appreciate now was the dramatic and somewhat schizophrenic nature of their sound of what were in essence pop songs but most of all it was the enigmatic quality of female vocalist Meredith Metcalf who was and still is as expressive in her jubilant and sometimes dramatic vocal style as when she gazed over the audience. I couldn't help think that the band were a little disappointed in the small turnout (it was a relatively short set, and there was no encore) but you know you really have to appreciate a band that sells their CD's for ten bucks (Canadian dollars at that) a pop at the show. I picked up their debut "Ears Will Pop And Eyes Will Blink" and their most recent album "A Certain Feeling". I haven't listened yet to the new one but their debut is one of the more invigorating and unique efforts I have heard in the last few years. Perhaps, the next time they roll through town, more people will have caught on to them.

Photos: Bodies of Water, Port O'Brien, The Ghost Is Dancing at El Mocambo (August 8, 2008)

MySpace: The Ghost Is Dancing
MySpace: Port O'Brien
MySpace: Bodies of Water

Hey Darlin' Don't You Look Fine

concert review: Grand Archives, Sera Cahoone @ El Mocambo (Toronto, Ontario), June 6, 2008



The much recently balleyhooed Seattles' Grand Archives apparently played a mere five songs at its debut show which got them a contract with Sub Pop who released recently their self-titled debut album. Of course, there's the Band of Horses connection as Grand Archives frontman Mat Brooke was once a BoH guitarist. Currently touring with Grand Archives is Mat's fellow former Carissa's Wierd (precursor to Band of Horses) bandmate Sera Cahoone who recently released her debut CD "Only as the Day Is Long" on Sub Pop back in March. The vibe at the El Mocambo last Friday was a relatively relaxed one, as what better what to tour then to tour with friends.

I only caught part of Sera's set, but what I caught was as impressive as first impressions can get. Playing with a band, Sera and her bandmates performed a set of melancholy country, folk-rock music using a combination of electric and acoustic instrumentation. The strength of the melodies and Sera's forlorn vocals were the best elements of the music in a genre that easily can fall by the wayside in less capable hands. The highlight of the set for most people it seemed was Sera's set closer when Grand Archives' Ron Lewis joined Sera and her band on stage for some added percussive elements and which ended with the group harmonizing in a spectacular finale worthy of the Grand Ole Opry.

Grand Archives were somewhat anxious as to what the Toronto reaction might be as Mat mentioned that the reception in another city (I think he mentioned Montreal) was quiet. With the relatively small El Mocambo at less than capacity, it could have easily been a laid back vibe, but as Grand Archives performed (with a few thank yous and other banter thrown in), the crowd's response was greater and greater. Part of it you'd have to chalk up to the strength of the songs. Grand Archives performed much of their self-titled debut plus a few new ones and Mat did at least one song solo during the encore. They're similar in vein to the reverb-drenched pop rock of Band of Horses on one level. However, Grand Archives tone down the reverb and place more emphasis on vocals and harmonzing and also seem to have a more varied sound overall over the course of their set list, utlizing some playful whistling on 'Minitiare Birds', getting a little country as on "A Setting Sun", playing some sombre-toned pop like on 'Sleepdriving' and their piece de resistance, 'Torn Blue Foam Coach' which is as sublime for it's vocal harmones between Mat and Ron as it is for the way it gradual builds from its quiet beginning to its full band charge. So far, it's my FAVOURITE song of the year. Mat made reference to Bob Saget who somehow influenced the writing of 'Torn Blue Foam Coach' - perhaps the band were relaxing on a torn blue foam coach, and Full House was on televesion - but however he did influence them, all I can say is, thank you Bob Saget.

Photos from the show over a my Flickr.

MySpace: Sera Cahoone
MySpace: Grand Archives

I See A Mansard Roof Through The Trees

concert review: Vampire Weekend, We're Marching On, The Torrent @ El Mocambo (Toronto, Ontario), December 13, 2007



I like to think that I'm not easily swayed by the buzz surrounding certain new bands but when something as savorily saccharine as Brooklyn band Vampire Weekend's "Mansard Roof" is, with it's playful keyboards, lush strings, and strummed guitar, vibrant rhythm section, and delectable melodies, that was enough for me to decide to check out the band live when they came to Toronto for a show at El Mocambo last week on December 13.

Opening the show were Toronto 3-piece The Torrent, generally a guitar/drums/keyboards configuration, with some violin at times. The baritone vocals of Cameron Groves reminded me of Calvin Johnson although not as deep perhaps and the minimalist guitar/keyboards/drums arrangements had a new-wavey pop feel a la B-52's . Guitarist Michael Edward Barry was in The Hidden Cameras - his guitar playing was primitive but was more than well-suited to the music. Tara Azzopardi did double-duty energetically alternating between keyboards and drums. I think they're a new band - they're MySpace songs have barely a 100 hits as of now. They're official website indicates they're full-length is out this spring. You can also check them out live in January, first on the 11th at Silver Dollar, then on the 27th at Sneaky Dee's as part of Wavelength.

Next up were Toronto's We're Marching On, a group of young gents exhuberantly performing their brand of skewed pop music, hints of melody intermixed with quickly strummed electric guitar, added keyboards, and vocals that at their most vibrant were shouty and yelpy. Prior to the start of their set, I'd ducked out of the club only to come back to find that the club had filled in nicely(and quickly I might add) for We're Marching On's set. They were energetic, and yes even entertaining - I could imagine them bringing down the house say at The Boat or Sneaky Dee's, a few of Toronto's more indie rock oriented music venues - but the crowd at the El Mocambo, from what I recall seemed somewhat subdued. I believe the gent on keyboards is also in Ohbijou if I'm not mistaken, but then you know, all these indie rock kids start to look the same after a while.

And finally, Brooklyn four-piece Vampire Weekend. They set up their own equipment, at that time giving the audience a glimpse of their now-somewhat-known preppy wardrobe, albeit the keyboardist and drummer in particular looking like they just rolled out of bed. But for all the preconceptions of them being spoiled rich kids just because they all met while going to Ivy League school Columbia University, I couldn't give a shit. Their self-proclaimed music style of "upper west side Soweto" is interesting - I think they succeed when the Paul Simon "Graceland"-era comparisons are toned down. While the African-esque "Cape Cod Kwassa Kwassa" on it's own merits is an entertaining melodic throwaway, part of it sounds like it came straight out of "The Lion King". During that song and a few other moments I felt their appropriation of African rhythms and instrumentation(based on my layman's knowledge of African music) felt a little unsettling(ie. how is that this Brooklyn band came to be influenced by such influences. Is this a gimmick?). Fortunately, I think the guys succeeded overall in not sounding too gimmicky. They started their set straight off with my favourite song off their MySpace, "Mansard Roof", later performing the punchy English Beat-esque pop of "APunk". The band got the audience involved with a song entitled "One(Blake’s Got A New Face)" being sure to point out that the song "One" that they would perform was not a cover of either the Metallica or U2 song, although Metallica's "One" was obviously present in part of the guitar arrangements of Vampire Weekend's "One". At a point in the song, lead vocalist Koenig got the audience to shout out the song's bracketed titled ie. "Blake's Got A New Face", which the audience did with enthusiasm. The musicianship was skillfully performed overall, more than enough proof that these guys are no flukes. Their debut album will be in stores on January 29 of the new year through XL Recordings and you can see the tracklisting here.

Check out a few of my photos from the show.

MySpace: The Torrent
MySpace: We're Marching On
MySpace: Vampire Weekend

Secret Someones

concert review: Laura Veirs And Saltbreakers, Karl Blau, Jade McNelis @ El Mocambo(Toronto, Ontario), May 12, 2007



It was a disappointing turnout to what was otherwise a fine set of intelligent pop music by Portland's Laura Veirs and her backing band Saltbreakers at the El Mocambo this past Saturday night. It's been about a year and half since she performed in Toronto when she opened for Sufjan Stevens at Trinity St Paul Church. My impression that night a year and half ago(especially standing near the merch table after the show) was that she gained a lot of new fans, myself included. It's a bit surprising that the El Mocambo was nowhere near capacity(maybe 40-50 people) for Laura's return appearance to Toronto. Thankfully, the crowd on hand was appreciative and did the courteous thing by approaching the stage for Laura Veir's set, making her feel quite at home.

According to Laura, her and and her band never paid much attention to what they wore on stage but this time, they wore the snazziest outfits I've seen in a long time. Laura's dress was adorned with stars, flowers, and guitars while her band Saltbreakers[Tucker Martine (percussion) Steve Moore (piano, organs), Karl Blau (bass, guitar, vocals)] wore suits similarly adorned with various things like trees, moths, and nautical objects. Drummer/producer Tucker Martine's suit jackets with it's various nautical objects adorned especially reflected the nautical-themed album cover of Laura's most recent album "Saltbreakers" (Nonesuch). Ingratiating herself to the audience, Laura asked if anyone in the audience knew Tony Dekker of Great Lake Swimmers who she and the band toured with(bassist Karl further saying that he was a sweetheart), and also asked the audience if anyone had read "Fugitive Pieces" written by one of her favourite authors Toronto author/poet Anne Michaels. Anyone going to this extent to extend herself to the audience might come off insincere but Laura was quite the opposite. Totally charming.

Overall, it was a set of polite-sounding, intelligent pop music. Laura's vocals, not overly feminine but still vulnerable sounding, was easily best the best instrument to carry her song's melodies. The band instrumentation was competent but at times felt somewhat lacking. I can't quite pinpoint what it was - or maybe I can; it could have been the bass from the second floor vibrating down through the ceiling to our floor. It was somewhat of a distraction and even Laura joked about it, at one point contemplating whether their next song should be a louder one or one of their quieter numbers. Unfortunately, I couldn't grab a set list fast enough but I did recognize Laura perform several familiar numbers like "Galaxies", "Secret Someones"!, "Pink Light", "Don't Lose Yourself", and "Rialto"(complete with handclaps!). A lovely, intimate show that could have benefited more from a stronger turnout(shame on you, Toronto).

Preceding Laura's set was her bassist Karl Blau who performed as a one-man-band using a looping station to loop human beat box sounds and other vocal effects, as well as guitar arrangements, as a backdrop to his own vocals and guitar/bass guitar playing. Starting his set with a folkier tune, Karl progressed to tunes with almost funky, even reggae, overtones, and as such he reminded at times of Beck. Quite possibly, the most amazing display of a looping station I've ever seen. The crowd was a little sparser for Karl's set than Laura's but a little prompting from Karl got the crowd to approach closer to the stage. The music's not necessarily my cup of tea but it was enjoyable nonetheless.

Had I known Montreal's(by-way-of-Florida-and-Taiwan) Jade McNelis was the first opener of the night my friend and I would have made an effort to show up earlier. I get many MySpace links sent to my e-mail and many I don't check out or I'm not impressed with but Jade's MySpace is one of the few I've taken notice of. Her vocals are awesome - they sound a little like Emily Haines in my opinion - and the music's an exemplary blend of melody, piano, guitar, bass, and drums. I can't believe she's only 20 yrs old. Chris Seligman of Stars produced her debut EP "All The Fables". Unfortunately, my friend and I missed her set. She may have only played solo because I think I recall only seeing a keyboard set up onstage before Karl's set. I may possibly try to take in her 11:10 pm scheduled set at the Horseshoe Tavern tomorrow night which is no cover, part of Edge 102.1's Nu Music Nite.

My photos from the show to come soon.

MySpace: Jade McNelis
MySpace: Karl Blau
MySpace: Laura Veirs
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The Smudge of Ashen Fluff graciously provides mp3's of Feist's recent live session on KCRW broadcast on May 10, 2007.

Vancouver's You Say Party! We Say Die! make their way eastward starting towards the end of the month, stopping in Toronto for a show an NXNE show at Horseshoe Tavern on June 9. Tour dates over at their MySpace.

Aversion has a Q&A with Mary Timony, whose newest disc "The Shapes We Make" (Kill Rock Stars) came out on May 8. No upcoming Toronto date unfortunately, but she'll be in Buffalo, NY at Mohawk Place on June 12 if you're inclined to make the drive.

The Hidden Cameras play an all-ages, early gig at Phoenix on June 15 - you already knew that. Before they head off to Europe for the summer festival circuit, according to their MySpace their only other Canadian gig for now will be on June 16 at Dublin Street United Church in Guelph - openers are Nathan Lawr & the Minotaurs, Doors 7:30 - Show 8:00 - tickets $15 adv/ $18 door which will be available at Daydream Nation and Ground Floor Music in Guelph. Hopefully they'll make it back for the Hillside Festival in Guelph at the end of July.

Brooklynites Bishop Allen will be at Lee's Palace on June 28. Tickets $10, onsale on May 17.