SHOW REVIEW : The Bonfire Ball ft. Jason Collett, Zeus & Bahamas x2

"yes, it was good... but was it Bonfire Ball good?"

As the previous comment suggests, the Bonfire Ball tour featuring Toronto artists Jason Collett, Zeus and Bahamas holds as the golden standard for live shows from this point on. Where do I even begin to recount the camaraderie and phenomenal musicianship that I witnessed? It would be helpful to mention that I had the pleasure of attending the show twice, first in Vancouver at the Biltmore Cabaret on March 26, 2010, and then in Victoria at Sugar Night Club on March 27. So this review will be an amalgamation of both of these nights.

Firstly, a difference between the two nights. The Vancouver show was oversold-- I was told that 500 tickets were sold for the Biltmore, with a capacity of 380. Needless to say, the place was packed half an hour before the sets began, which is when I arrived decked out in a gown as promised to Grant Lawrence of CBC Radio 3, who had challenged attendees of the Bonfire Ball to dress with the "Ball" part in mind. The bands looked visibly surprised to see a crowd of about 10 extremely well-dressed indie kids at stage right, and commented as such when I chatted with members of Zeus post-show.

The low stage and wideness of the Biltmore contributed to being much closer to the band. On the other hand, the Victoria show was considerably more sparse, and the high stage, combined with a well-placed disco ball and other effective lighting, made the show at Sugar resemble prom night in the '70s. I even was asked spontaneously to slow dance during a Bahamas number, which was very fitting. Also, by the time of the Victoria show, which was the tour's second night back in Canada after weeks of touring down south, Collett and co. had caught wind of the challenge to dress up and spoke warmly of CBC Radio 3 during the show. In what was their longest stretch of banter, Jason Collett remarked to an audience member, asking him why he wasn't listening to "the most important radio station in Canada," chiding him for losing his Canadian spirit so soon after the Olympics had left.

Onto the music! Like I had alluded to in a previous post, the shows featured Bahamas, Zeus and Collett in 3 hours of collaborative play, as opposed to 3 distinct sets. This allowed the studio recordings to really come alive with full instrumentation which so often doesn't happen with touring bands. And from the moment Jason Collett steps onto the stage alone, seemingly to tune his guitar but actually starting the show with an acoustic number, the audience's expectations about show sequences are turned upside down.

Never again will you witness so much harmonizing and guitar duets in a single show. Nor like Jen Polk noted for Sticky Magazine, so much testosterone-- i.e. sex, oozing out of fingers and voices. Although appearances did come into play, the appeal of the Bonfire Ball which drove the audience into frenzies were Bahamas' sly, dirty charm, Zeus' tireless enthusiasm and Jason Collett's commanding sway. It's hard to say which was the most popular act of the night, as excited expressions were made anytime the acts were shuffled up. However, when Bahamas was on, you could expect a sexy, bluesy number with smirks and jesting with audience members. When Zeus took the stage, you knew minutes of pure groovy pop bliss were soon to follow... but never knew who was going to play what. And when headliner Jason Collett headed the band, you were taken by his soulful drawl to an era of rock-and-roll that frankly, I wasn't even around to be nostalgic for.

And when the show resumed for the encores, the audiences were treated to an entire set of inventive and totally danceable covers. The Vancouver night saw Neil Quin of Zeus cover R. Kelly's "Ignition" without a hint of irony, and Bahamas' rendition of "I've Never Found A Girl (Who Loves Me Like You Do)" pretty much left no females with a libido standing. For the Victoria show, the 3 bands came together and covered Kylie Minogue's "I Just Can't Get You Out of My Head." Both nights also had the (better than Genesis themselves) amazing Zeus cover of "That's All," which is on their EP Sounds Like Zeus.

Do me a favour; see the Bonfire Ball if you haven't. And if you have, see them again. You won't regret it!

For another more thorough write-up, check out 3amrevelations by my good friend Kirk.
Below are the set lists from the Vancouver and Victoria Bonfire Ball shows:

Vancouver (1&2), Victoria (3):

More upcoming Bonfire Ball dates:

31 Mar 2010 20:00
Pawn Shop, Edmonton, Alberta
1 Apr 2010 20:00
The Legion, Calgary, Alberta
2 Apr 2010 20:00
The Exchange, Regina, Saskatchewan
3 Apr 2010 20:00
West End Cultural Centre, Winnipeg, Manitoba
4 Apr 2010 20:00
7th Street Entry, Minneapolis, Minnesota
6 Apr 2010 20:00
Majestic Theatre, Madison, Wisconsin
7 Apr 2010 20:00
Schuba’s, Chicago, Illinois
12 Apr 2010 20:00
Casbah, Hamilton, Ontario
13 Apr 2010 20:00
Starlight, Waterloo, Ontario
14 Apr 2010 20:00
Zaphods, Ottawa, Ontario
15 Apr 2010 20:00
Petit Campus, Montreal, Quebec
20 Apr 2010 20:00World Cafe Live, Philadelphia, Pennsylvania
21 Apr 2010 20:00
The Iron Horse, Northampton, Massachusetts
24 Apr 2010 20:00
Union Hall, Brooklyn, New York

Prepping for the Bonfire Ball

I thought I'd prepare any Vancouver readers for what's shaping up to be one of the best shows of 2010-- The Bonfire Ball, featuring Bahamas, Zeus and Jason Collett, all hailing from Toronto. Their tour, which has the three acts sharing the stage for one another's songs as opposed to 3 distinct sets, has already gathered rave reviews across the country. Another highlight is that a challenge has been sent out by Grant Lawrence of CBC Radio 3 for all Bonfire Ball attendees to dress to the nines, like you would going to an actual ball. Can't wait to see if only a few indie kids glammed up!

Firstly, let's have Bahamas seduce you with his bluesy guitar. He opened for Amy Millan a couple of months ago, and half stole my heart since then.


BAHAMAS - Already Yours from Mitch Fillion on Vimeo.

Next, we have one of the most exciting upcoming bands out of Toronto, Zeus. Having played as Jason Collett's backing band for some time, these boys have since shown that they have more than enough chops to strike out on their own. When I caught them at Rifflandia Festival back in September, the first word that came to mind was "groovy."

Zeus - "Marching Through Your Head"



And last but certainly not least, we have the band leader, the rough and tumble veteran of the bunch. Collett, known prior to his solo career as part of the Toronto supergroup Broken Social Scene, is Canada's answer to Dylan. He has a characteristic drawl and a certain nostalgic warmth to his tone.



And here's a taste of what the collaborative show will sound like: Collett, Zeus & Bahamas cover Kylie Minogue's "Can't Get You Out Of My Head" at Canadian Music Week in Toronto.



And for those elsewhere in Canada, here are the remaining tour dates of the Bonfire Ball:

26 Mar 2010 20:00
Biltmore Cabaret, Vancouver, British Columbia
27 Mar 2010 20:00
Sugar, Victoria, British Columbia
29 Mar 2010 20:00
Communitea Cafe, Canmore, Alberta
31 Mar 2010 20:00
Pawn Shop, Edmonton, Alberta
1 Apr 2010 20:00
The Legion, Calgary, Alberta
2 Apr 2010 20:00
The Exchange, Regina, Saskatchewan
3 Apr 2010 20:00
West End Cultural Centre, Winnipeg, Manitoba
4 Apr 2010 20:00
7th Street Entry, Minneapolis, Minnesota
6 Apr 2010 20:00
Majestic Theatre, Madison, Wisconsin
7 Apr 2010 20:00
Schuba’s, Chicago, Illinois
12 Apr 2010 20:00
Casbah, Hamilton, Ontario
13 Apr 2010 20:00
Starlight, Waterloo, Ontario
14 Apr 2010 20:00
Zaphods, Ottawa, Ontario
15 Apr 2010 20:00
Petit Campus, Montreal, Quebec
20 Apr 2010 20:00World Cafe Live, Philadelphia, Pennsylvania
21 Apr 2010 20:00
The Iron Horse, Northampton, Massachusetts
24 Apr 2010 20:00
Union Hall, Brooklyn, New York

CBC Radio 3's Extended Play #7: Do Music Bloggers Have All the Power?

CBC Radio 3's Lisa Christiansen (that's her on the left) hosts a really interesting podcast every two weeks named Extended Play. These podcasts focus on issues concerning music, current events and so on, which veers from the Radio 3 norm of musical podcasts. Some issues that have been addressed in the past include technology and music and the "colour" of indie. The most current podcast, available here, features yours truly and focuses on the issue of music criticism and how music blogs such as this one affect the field, the artists, and the readers/music lovers. The podcast also features Carl Wilson of the Globe & Mail, as well as Vancouver band Yukon Blonde.

I encourage you to take a listen and think about the sources of musical information you take in and trust. And while on my little pedestal, make sure you support your favourite music bloggers, either with a nice comment here and there or a drop in the Paypal bucket. It goes a long way for those of us who don't write to get paid, but to support you, the music lover, and the artists. Thanks for sticking with me!

And also, I want to thank CBC Radio 3 for finding new and innovative ways to support not only artists, but Canadian music lovers such as myself as well. Grant Lawrence in particular has put me on the air several times to mention the blog, as well as provided vital advice. Please remember that when you hear about budget cuts to the CBC.

Concert Review : Rose Cousins & Royal Wood at the Media Club

Rose Cousins and headliner Royal Wood put on a fantastic show on November 17, 2009 at the Media Club in Vancouver-- one full of switching roles, great laughs and even greater appreciation of your loved ones.

Halifax-based Rose Cousins, touring her new album The Send Off, began her opening set by the strumming of her guitar and the clear, warm tone of her voice. Well, not completely accurate. She opened her set by commenting on the amount of people surrounded the stage and how it made her feel "popular." And indeed there was a unusually large crowd for an opening set, which consisted of a dedicated base of "Rosebuds," which included Vancouver artists such as Jill Barber, Nat Jay and T Nile. She also thanked Grant Lawrence of CBC Radio 3, who was in the audience, for interviewing her earlier on during the day and heaped praise on the CBCs across Canada.

It wasn't long into her set that the rest of the people in the room were equally captivated by her honest lyrics, perfect (can I say that?) voice and gut-busting banter, which ranged from touchingly personal to hilariously inappropriate. She also accompanied herself for the entire set on keyboards, guitar and mandolin, save the beautiful "All the Time It Takes to Wait" which was accompanied by the "talented and handsome" Royal Wood.

Rose had the attention of the entire crowd in the usually chatty Media Club. Mid-set, she put the audience on the spot by asking for things in a den-- with the crowd yelling things like "chesterfield!" and "Jenga!" and her constructing a vivid image of that idyllic childhood den with her descriptive imagination. She then transitioned into her song "The Dancers" which imagined an elderly ballroom aficionado couple waltzing around this constructed den.

This was not the only time she called out for audience participation, of course. In another great switching of roles, she called out for an audience member "who's good at keeping rhythm" before playing the last song in her set, "Sadie in the Kitchen." I volunteered hesitantly, and soon found myself sharing the stage with Rose accompanying her on the shaker egg. She gladly regaled myself, an audience member, with the spotlight (and microphone!) while she led the rest of the audience in a sing-along, complete with "random vocal projections." The adorable refrain "before bed, before bed, B for bed, B for bed..." was written with her friends' young daughter in mind, and meant to be an "adult children's song" that she composed for said friends' wedding. Her willingness to share the stage and completely engage the crowd in participation recalls the show by her good friend, Joel Plaskett, whom she supported in a Vancouver show in May.

So yes, I'm going to include that in my resume and CV from now on.

Royal Wood took to the stage with guitarist Dean Drouillard inconspicuously, launching into their first of many songs. Playing many songs from his latest The Lost and Found EP as well as his 2005 A Good Enough Day, Royal filled the Media Club with his romantic, melancholy ballads without his usual backing band. And was the show romantic! Couples lined the perimeter of the stage, as well as filling the rest of the venue, while Royal told of the songs inspired by his brother's wedding, his parents' love, his own love and that of his friend's grandparents. In one of the more poignant moments, he told the audience to never settle for less than the reverberating, lifelong love that they deserve, and for which he sings. These touching anecdotes were nicely interspersed in the song-heavy, banter-light set, which included hits "Juliet" and "Don't Fall Apart."

Royal invited Rose back on stage for 2 songs near the end of his set, and wrapped up with an extended, passionate "Acting Crazy (It's a Breakdown)." Before returning on stage for the encore, he seemed confounded by the presence of washrooms where backstage is supposed to be. The Media Club's backstage is actually at the back of the room, and he commented that he wasn't sure whether to enter the men or the women's washroom in order to get there. Matching Rose's incredible sense of humour, he poked fun at the men in the room by encouraging a final sing-along by saying "this is to show your sexual confidence," which of course, got a burst of laughter and the desired louder audience participation.

All in all, the show was a heartwarming experience, and concert goers exited the Media Club with muted smiles, holding their loved ones into the windy, rainy Vancouver night.

For more photos of the show, visit my Flickr set.

Tune of the Day: WOW

The Pack A.D. - Black Out
The growl in that voice, the leather jackets, Grant Lawrence and the Radio 3 office, turning it way up, throwing shit around... that, kids, is how you rock out.

I'm just LOVING Vancouver artists right now. Never mind Canada, I could live off of BC music for a loooong time. ... But I'd miss Joel Plaskett.

Spirituality/Faith, Indie Cred & Musical Influence

Last night, myself, a couple of fellow CBC Radio 3 listeners and host Grant Lawrence were chatting about various aspects of broadcasting life. The topic then came upon the segment Grant did Thursday, featuring songs from You Say Party! We Say Die!'s latest album XXXX, as well as interviews with various members of the band. Grant mentioned how YSPWSD were on a long hiatus, and during that time, lead singer Becky Ninkovic had found God (cringe nose here, uncomfortable chuckles all around table). He went on to say that during the interview, Becky was saying things like, "God is love," "God is divine," and various things that made both her band mate and Grant extremely uncomfortable and awkward and oh-no-make-her-stop.

In Canada, the kind of spirituality that's hip and appropriate for public chit-chat involve yoga and taking long walks thinking about your life. Or the derisive smirk and nod when someone from the American political far-right says something extremely stupid and stamps it with God™. CBC, especially Radio 3, has an unspoken (or maybe spoken) mandate as a public-private institution to be neutral to matters of religion and faith, and since there are no neutral stances in matters of spirituality, adopts a secular viewpoint. We touched up on all these points during our conversation, and while I pointed out that the (generally left-wing) indie arts community and Christian faith, in this case, are not mutually exclusive, we agreed that it is uncommon to hear an open endorsement of God in Canadian independent music.

Grant opined that YSPWSD stand to possibly lose a good chunk of their "indie cred," and there are several possible reasons for this. He reasoned that their demographic does not want to hear about God. That may be partially true, but we must consider that the percentage of our youth/young adults who are agnostic are quite high. I think that by identifying with an organized religion (as in, not the yoga-practicing, self-actualizing kind of "I am my own god" God), there are some easy heuristics/labels that people attach to an artist:
1. conservative (i.e. not edgy, not original, no new ideas, not inclusive-- big Canadian no-no)
2. brainwashed (i.e. not free-thinking, tricked/stupid, not speaking from own p.o.v., "will try to convert them")
3. ... just not cool. Rock stars are supposed to be happily, wildly and excessively pagan until they're old and worry about what happens after they die.
And thus, their music will be bland. and inoffensive. and about how Jesus wants to hug everyone. and generally not worth listening to anymore.

However, as I listen to some of my favourite artists, I hear their perception of the beauty of God, I tremble from the questions of anger and tears and longing, and I feel the inspiration of something greater than their own volition. Frankly, I couldn't listen to music if I didn't sense these things. In fact, one of the reasons I started listening to independent music was because of the lack of genuine doubt, joy and professions of faith that mainstream music on the whole (including contemporary Christian rock) offers. Joel Plaskett's Non-Believer, Two Hour Traffic's Sing A Little Hymn, anything by K'naan... to just scratch the surface, can challenge my own faith and at once enliven it more than many sermons I've sat through.

This is not a call for artists to identify themselves (WHICH GOD ARE YOU SINGING FOR?!) but rather a open query: why are we so uncomfortable discussing about the Divine as a common source of inspiration that's so central to so many artists' lives? Can we still be moved by a song whose source of inspiration make us awkward/conflicted/angry/apathetic? Will we label an artist as not worth listening to any further because of whom they profess to love?

(...there goes my indie cred, right?)

Musical Updates From Twitter - Sept 15

To make life a lot simpler and a lot more internet-addiction-free, I'll try to sum up some notable things to save you time and browsing energy. You're welcome!

K'naan and J.Period team up for another collaboration called The Messenger #3, which apparently features Bob Dylan? Download for free here.

Another free download: Chad VanGaalen offers up a free B-Sides EP to complement his Polaris-shortlisted Soft Airplanes.

Joel Plaskett records an iTunes Original Session which is available for purchase here (leads to iTunes Store) and is being broadcast tonight (Sept 15) at 5pm PT / 8pm ET on CBC Radio 3.

Vote for your favourite songwriter at for the ECHO Songwriting Prize. (I think it's pretty obvious whom I've already voted for.)

Nominees -
Joel Plaskett Through & Through & Through,
Sebastien Grainger Love Can Be So Mean,
Timber Timbre Lay Down In The Tall Grass,
Land of Talk Some Are Lakes, and
D-Sisive Nobody With A Notepad

A great piece on Herohill regarding how Metric has to fight both relative obscurity in the global music market and the shunning of the indie crowd.

After tweeting about seeing Immaculate Machine at the Biltmore, Grant Lawrence of CBC Radio 3 informed me via direct message that Kathryn Calder is no longer part of the Victoria band. Not to say that the show was any less enjoyable, but I was a bit disappointed to hear that...

Some upcoming Vancouver concerts on top of what's listed at my sidebar: Corb Lund @ Commodore Ballroom Nov 12/14, The Swell Season @ Vancouver Centre For Performing Arts Nov 5. Mother Mother is opening for Matthew Good for 2 shows at The Centre in Vancouver for Performing Arts on November 10 and 11.  Tickets start at $32.50 and are on sale this Friday.

And to wrap up the entry, here's my concert and EP review for Vancouver's Char2d2 on NxEW. Below is their single Take & Send.

Since Twitter is down

Twitter-like music updates:

Not the greatest shots from @samrobertsband, @mothermother & @arkellsmusic concert @ Deer Lake, but heck of a concert :) http://bit.ly/k0wMO

Check out my phone interview with @GrantLCBCR3 on @CBCRadio3 about the above concert

Just got 25 free songs off eMusic (just cancel plan after trial). Including Peter Elkas' Poor Young Things. Not all of us have record player.

Vancouverites: anyone else going to Basia Bulat and/or Final Fantasy shows in September? Almost back to back (to school special).

Don't forget to sign up for @CBCRadio3's email newsletters! Free mp3 from @saidthewhale this week.

Check out the latest Green Brief about the situation in Iran. Greatest shame about #twitterfail is the lack of communication.

Just pre-ordered @danmanganmusic's Nice, Nice, Very Nice and you should too if you like talented husky-voiced singer-songwriters!

RT wowow @Sojourners A Meditation on Christian Extremism: Blackwater and the Bonhoeffer 4 http://bit.ly/FDYTq #FF #Follow Friday