Austra, Young Galaxy, Tasseomancy @ Phoenix Concert Theatre, Toronto (December 1, 2011)

  Austra: photo by Michael Ligon

Kicking off a busier month of concert-going than usual for me these days was Toronto's Austra at the Phoenix Concert Theatre at the beginning of the month. The bigger ticket that night was Feist at Massey Hall but there seemed to be a full-house (if not a sold out one) for the homecoming show for Austra who'd been making waves and touring all year.

Doing double-duty that night were twin sisters Sari and Romy Lightman aka Tasseomancy who to me were better known as Austra's dynamite backup vocalists / all-around foxy side women. It was only more recently that I found out that the sisters use to be Haligonian indie folk duo Ghost Bees. Joined by male musicians on keys and drums, the gals stark vocals complimented the lilting folk melodies and subtle instrumentation nicely. Haunting at times, and sonically interesting throughout, they aren't your average folk band.

Since the release of their self-titled debut full-length in 2007, Montreal's Young Galaxy were a band I'd suspected would have hit it big by now, which if they had, it'd have been deserved. The band's soaring, dream-pop melodies were never really the mainstream, as mainstream pop has gone over the last five years, but in my opinion could have crossed over easily if only the fickle music buyer had taken notice. With the release of their third album Shapeshifting released earlier this year, it seems that band has discovered dance music, as was obviously displayed by the band during their set preceding Austra. With the entire band dressed in white, including female lead vocalist Catherine McCandless in a flowing white top, it was a visually attractive presentation. Musically, it was quite apparent that the band's recent forays into dance-inflected pop is what's floating their boat these days. A part of me misses their earlier dream-pop sound, but the band seem like a more stimulating live band this time around, especially Mccandless' vibrant movements and tambourine-shaking onstage.

Austra's debut album Feel It Break released this past May I will have to say is my favourite Canadian album of the year. Featuring vocalist Katie Stelmanis' stark operatic vocals against a backdrop of pulsating rhythms and synth, along with a bevy of great melodic tunes, it's just such a fantastic listen. Stelmanis greeted the crowd and told us that just a year ago they'd play their first headline show at the Bovine Sex Club and now they were playing their biggest show yet in Toronto, this time at the Phoenix. I was fortunate to catch them live at the sweaty and intimately confining Wrongbar earlier this year during Canadian Musicfest so it's a shame to say that this show at the Phoenix just did not reach those euphoric levels I'd experienced at Wrongbar. I wished the crowd had shown more energy, like the pulsating, dance-infused crowd that greeted Austra earlier this year. The crowd at the Phoenix was wholly appreciative for sure, but definitely lacked the energy that they should have had. given the band's exemplary musicianship. Perhaps the post-midnight set was frustrating for some that Thursday night for those who had to work the next day, but hey, you're only young once.

Photos: Austra, Young Galaxy, Tasseomancy @ Phoenix Concert Theatre, Toronto (December 1, 2011)

Death Cab For Cutie, The Lonely Forest @ Phoenix Concert Theatre, Toronto (May 18, 2011)

  Yes, that's Death Cab For Cutie

It's funny how long seven years can be. In the grand scheme of things, seven years isn't necessarily a long time. On the other hand, a lot can happen in seven years. I'm already nostalgic for 2004. Things were just a lot simpler back then (believe me it was). Musically, it was also somewhat of a renaisance period which for me culminated with my trip to Coachella that year where I latched onto bands (not necessarily new bands) that seemed to break out that year (or perhaps just prior to that year) such as Broken Social Scene and what is the topic of this post, Death Cab For Cutie. The Washington State indie four-piece had already released several indie albums, but broke out with their 2003 album Transatlanticism. A few years later they'd jump ship for the majors which brings us to the present as the band's third major-label album entitled Codes and Keys was just released and which brought the band to the Phoenix Concert Theatre a few weeks ago to promote the album with an intimate club show.

Lucky ticket-buyers were subjected to a will-call process to get into the venue, which while warding off scalpers, meant a lineup into the venue that snaked down Sherbourne even half an hour before doors opened which was when I arrived. But fortunately it was a mild spring day which made the waiting process more bearable. Finally making it into the venue, Anacortes, Washington quartet The Lonely Forest were already into their set warming up the fairly packed house. I'd have probably have been more into this band perhaps 7 years ago, their music in the vein of melodic emo pop-rock not entirely dissimilar at times to headliners Death Cab For Cutie. The band's musicianship and melodies was satisfying on one level but there was also something of generic quality that I couldn't get passed. Perhaps it's not such a good move to open up for Death Cab For Cutie if you sound a bit like them, just saying.

For a band who's worked their way up to scheduling their biggest show yet in Toronto on July 29 at the Molson Ampitheatre, you'd figure that an intimate club show would have the all-ages crowd at the Phoenix delirious. While the band entered onto the stage amidst a euphoric reponse, the crowd soon lulled into a passive state even though the band kicked off the set with fan favourites "I Will Possess Your Heart" and "The New Year". Honestly, from my vantage point from the middle of the room just past the drinking area barrier, the crowd seemed dead. The setlist, while including a number of songs from the new album (early on in the set including "Some Boys" and "Doors Unlocked and Open"), also included most if not all the fan favourites that I could think of. I think it wasn't until Ben Gibbard bantered to the audience that they'd play a lot of new songs and then quipped "This is like free jazz Death Cab...whatever happens happens" that the crowd finally warmed up with a chuckle.

Soonafter, with Ben on keys, the band broke into "What Sarah Said" with the crowd launching into singalong during the song's outro "who's gonna watch you die", a poignant closing to that song. With the band minus Ben leaving the stage, Ben polled the audience "This is fun right?" before leading into the other big audience singalong of the night of "I Will Follow You Into The Dark' with more than a few smartphones raised in unison to capture the video for posterity. Of the five or so new album songs played during the night, my favourite was "You Are A Tourist" with it's urgent tempo and sinewy, melodic guitar line. "Underneath The Sycamore" while less memorable was also enjoyable, at least within the group of the last part of the main set list which ended the main set on a high note. "Soul Meets Body", Twilight-soundtrack contribution "Meet Me At The Equinox", "Cath", "Crooked Teeth", "Sound of Settling" -- what more could any Death Cab fan asks for.

Well an encore for one, which the band gave to us with four songs, including some earlier catalogue tunes including "Photobooth" and "Your Bruise" but intermixed with Transatlanticism faves "Title and Registration" and the title track. When the band plays the Molson Ampitheatre in July it won't be the first time they've played a big stage - I did see them play the mainstage at the Sasquatch Festival at the Gorge Ampitheatre in Washington State in 2008 and the band just played that festival this past Memorial Day. While there wasn't as fervent a response from the crowd at the Phoenix as I'd hoped overall, the crowd did warm up and it turned out to be an enjoyable set. One can hope that their Molson Amp show will be life-changing for someone - I will attest that hearing "Transatlanticism" on a big stage amongst a sea of people and flickering lighters and illuminated mobile phone screens will virtually move you to tears.

ps. No photos for this show, except for the less-than-stellar cell phone photo above. I had a ticket for this show but not a photo pass. And I also just want to apologize for the lack of posts lately; general laziness on my part but I hope to get up reviews and photos for other shows I've attended lately including Austra, Anna Calvi, and The Radio Dept. Plus, of course, Luminato and NXNE is coming up. Stick around.

MySpace: The Lonely Forest
MySpace: Death Cab For Cutie

The Walkmen, AA Bondy, Blood Feathers @ Phoenix Concert Theatre, Toronto (October 9, 2010)

  The Walkmen: photo by Michael Ligon

The various spectrums of rock n' roll were on display this past Saturday night with a trio of acts that were bound to please everyone. It would only take one look at the MySpace URL of first opener Blood Feathers to guess what they specialized in. The Philly outfit were indeed a rock n' roll band of the highest degree, pumping out hard-rocking, r n' b, rockabilly-tinged numbers. Taking a reverse take on The Ramones whose members each took on Ramone as their last name, Blood Feathers' members utilize their each individual last names but take Feather as their first name. Greaser-quaffed lead vocalist Feather Mills did a fine job on lead vocals, but the instrumentation was where it was as the band excelled with with effective drumming, crunchy guitars and the occasional grimy tenor sax. I could have imagined a good rock n' roll dance party going on but the sparse crowd onhand was a little too insecure to break out of their shells.

Next up were Alabama artist AA Bondy (born Auguste Arthur Bondy), one of the buzz acts of this year's NXNE. Buzz-worthy he may have been, but I'd never even attempted to sample their wares before the show, which really is my bad. With two albums already to his name and aprior history with a previous band(Verbena) back in the 1990's according to Wikipedia, I'm way behind the curve, but feel quite fortunate to have caught this set. In stark contrast to the sparse crowd onhand for Blood Feathers, the crowd was decidely more focused on crowding the front of the stage for AA Bondy's set. Unaware that Bondy himself and his two band members(drummer & bassist) were actually setting up their own gear onstage, I was surprised when the trio subtly took to their instruments, the lights dimmed as it would remain for the entirety of the set(frustrating photographers I'm sure) and went on to knock my socks off. There was a Southern strain to Bondy's supple melodies and vocals, while the band churned out the instrumentation in a decidely easy tempo, giving much of the material a dark tone. On the other hand, the band also dabblesd in a bit of dissonant experimentation, reminding me a bit of Sonic Youth or Yankee Hotel Foxtrot-era Wilco, as Bondy at times held up his guitar to the amp as it resonated with harsher tones. But in the end it was the song's that really connected and I'll be looking forward to seeing Mr. Bondy either in solo or band form whenever he comes back to town.

The last time NYC's The Walkmen played in town was in July 2009 at Lee's Palace, not the first time I'd seen the band live but it was a show I don't have any specific memories of but generally remember it being satisfying but no more no less. For a band who in my opinion had released one of the finest rock n' roll singles("The Rat") of the last decade, of the few times I've seen them live I don't recall their live sets being consistently scintillating, although I would say that this most current set was their most successful set to me yet. On the tour jaunt for their most recent album Lisbon, there was obvious excitement for the group. The band dressed in dark slacks and white button-up shirts, with a member or two wearing a jacket or blazer, oozed NYC cool without looking ridicously hipster-ish, but the visual aesthetics aside, the focus was really on the music.

There was a balanced approach to the setlist overall. The vibe of the night ranged from skeletal rhythmic numbers like "Blue As Your Blood", to churning rockers like "Victory" and "In The New Year", crooning atmospheric numbers like "Donde Esta La Playa" and "Canadian Girl", and perhaps the band's bread and butter, explosive numbers like "Angela Surf City" and "The Rat". So the organ-fueled and guitar drenched numbers were augmented by drummer Matt Barrick who was particularly solid, occasionally embellishing his rhythms with a shaker or triangle. I still thought pockets of the crowd were frustratingly tame. However, there was definitely some energy dispersed through the crowd and the crowd was indeed vocal for their want for an encore which the band granted first with mellower tune "New Country" performed with just lead guitarist Paul Maroon and Hamilton on vocals, then launching into the explosive "The Rat" which could have satisfyingly ended the night there, but the band ended the night on one more tune. LIke the female concert attendee vocally shouting out her song request, I was hoping they'd also play the mariachi-influenced "Louisiana" [an influence that I noticed more subtly on a few of their other songs] but no dice. The song's probably their next big 'hit' next to "The Rat" so I only thought they'd have played it. All I can say is that like the band's varied sounding ouvre, The Walkmen are full of surprises.

Photos: The Walkmen, AA Bondy @ Phoenix Concert Theatre, Toronto (October 9, 2010)
MySpace: Blood Feathers
MySpace: AA Bondy

MySpace: The Walkmen

Calexico, Elliott Brood @ Phoenix Concert Theatre, Toronto (July 22, 2010)

  Joey Burns of Calexico: photo by Michael Ligon

More often than not bands tour to promote a new release but sometimes they tour for touring's sake such as the case with Tucson's Calexico who stopped in Toronto for a show at the Phoenix Concert Theatre on July 22. Similarly, openers Toronto trio Elliott Brood aren't promoting a new release either but came out to open the show before working out their performance legs on their own tour jaunt.

It's surprising it took me so long to catch Toronto's Elliott Brood live, a career two albums in already, a band who's kicked around since releasing their first release, an EP, in 2004. The band consists of Casey Laforet on guitar / vocals, Stephen Pitkin on drums, and Mark Sasso on guitar / banjo / ukelele / vocals. For a Thursday night at the Phoenix there was a decent crowd yet still plenty of elbow space for both Elliott Brood's and Calexico's sets, providing some foot-stomping room for a few extroverted souls to cut loose, the rest of the crowd seemingly content to stand back and watch. It was a fairly satisfying set of roots-tinged songs, songs rooted in steady percussion and embellished with guitar, banjo and ukele and enthusiastic vocals. It's perhaps a formula destined for mundaneness but the Brood do experiment a bit with sonics in their guitar sound at times, but above all have a great catalogue of melodic tunes they're working with. It's these songs in a live setting which call for handclapping, foot stomping and singalongs such as their fantastic set closer "Miss You" which had the band repeating "I Miss You Now" accompanied along by a jaunty rhythm.

Tucson's Calexico have been one of those acts I've been meaning to catch live for some time now. I'd barely scratched the surface in even listening to them on record but they were always one of those bands that in theory I thought I might like a lot, having coloured their indie rock with a variety of influences including jazz, Americana, and mariachi. With horns, pedal steel guitar, vibraphone, and hand percussion making their way amidst the more conventional rock instrumentation, the band performed a varied sounding set from mariachi-influenced songs, to rootsy numbers and a few straight-ahead, guitar-driven indie rock blasts. It was the latter that I most identified with although it was the former[the mariachi/rootsy numbers] where the band really distinguishes themselves. With the press having described them as "desert noir" in the past, I always imagined a mystique surrounding the band but on the contrary they were quite ordinary guys and lead singer Joey Burns was open and friendly with crowd.

They thanked the crowd, who in my opinion seemed enthusiastic on the contrary to what chartattack said, with a couple of encores, the first with the band which included a Zorba-The-Greek-esque instrumental interlude joined onstage with Elliott Brood which segued into a poignant, twang-inflected cover of Neil Young's "Cortez The Killer". The 2nd encore seemed unplanned but given the sustained efforts from the crowd who remained, Joey and pedal steel guitarist Paul Niehaus came back onstage to perform the quieter, folky Bisbee Blue".

Here's the setlist.

Photos: Calexico, Elliott Brood @ Phoenix Concert Theatre, Toronto (July 22, 2010)
MySpace: Elliott Brood
MySpace: Calexico
Video: Calexico - "Sunken Waltz" (live @ Phoenix Concert Theatre, Toronto (July 22, 2010)