CBC Music Festival @ Deer Lake Park -- 06/14/14

Last year the inaugural CBC Music Festival took place at Echo Beach far away in time in Toronto, but this year they decided to take the show to Vancouver -- or more specifically, Burnaby's Deer Lake Park. And a little bit of rain couldn't keep people away for a day included dozens of musicians and CBC personalities, from Radio 3's Grant Lawrence, to Radio 2's Tom Power and Rich Terfry (aka Buck 65, who also performed a DJ set), Radio 1's Jian Ghomeshi, and more.
The Irrelevant Show was also there to do a live taping, and the music was spread across two stages, the main stage by the lake and a smaller "garden" stage off to the side.


Some of the early music in the day included local up & coming Wake Owl and the winner of the CBC Music Searchlight competition for "best new band", Lauren Mann and the Fairly Odd Folk, but the first act that I caught was Vancouver's own Hannah Georgas on the main stage. The half-hour set ranged from "Shortie" which got people moving in the misty rain (one girl in the audience loudly proclaiming it was her jam) to the other end of the spectrum, the softer and touching "Ode to Mom". And as the set came to a close with "Waiting Game", Hannah's voice single-handedly beat back the clouds, and held off the precipitation for the majority of the day.


Next up on the main stage was the pride of Hamilton, with the well-earned reputation as one of the countries best live band, Arkells.
They teased their upcoming new album by leading off with a brand new song, "Come To Light", but aside from that and the slow-burning jam "Never Thought That This Would Happen" they stuck to older material.
"Oh, The Boss is Coming" had Max whip the crowd up with a singalong, and "Pulling Punches" featured an aces piano solo from Anthony Carone on keys.
And as is Arkells way, they slipped in some brief covers; a dash of Al Green in "Michigan Left", and part of Shad's "Rose Garden" during "Book Club" (specifically, the hook reminded Max of the weekend's weather: "There's gotta be some rain sometimes"). They invited a special guest on stage for a full-blown cover, Talking Head's "Psycho Killer" with Arkells fronted by Jian Ghomeshi.
Early on, lead singer Max Kerman mentioned it was their job, as an opening band, to pump the crowd up and that is exactly what they did, ending their explosive set with "Whistleblower"


The festival ran like clockwork, and almost immediately after Arkells ended, The Belle Game started on the Garden Stage. It was a change of pace from Arkells' high-tilt rock to their darker and moodier indiepop, but they still got people moving, starting off with the groovin' "Wasted Light".
The all-too short set included a new song, possibly called "Mess Around", which they have played a few times before and it has always amazed me, and of course Andrea Lo's powerful voice filled the park on songs like "River". They ended off as they usually do, getting people dancing with "Wait Up For You" building into a fantastic ending of duelling guitars.


Back again on the main stage, Searchlight winner Lauren Mann (who had "never played for this many people") was briefly out to perform her Searchlight winning song "I Lost Myself", before what was was essentially the debut of Dan Mangan + Blacksmith. Aside from a small UBC show, Dan hadn't played in his hometown in about a year and a half, and this was the unveiling of his new band, Blacksmith. The members were largely the same; the usual faces of Gord Grdina, Kenton Loewen, John Walsh, among others, but the new name signalled a new direction in his music, with the writing process being more collaborative.
And based on the new songs -- "Mouthpiece" and one I didn't catch the name of -- it is a great new direction. Both new songs were very intense, dense and layered, but still felt very "Mangan". It seemed like the natural progression for Dan, judging by the last couple albums.
While there were only couple brand new songs, the "new sound" was very much spread across their entire set, through the older songs. "Post-War Blues" started with a swell of instruments before the passionate song swelled to its explosive climax, and "Sold" was slowed to a calmer pace.
Part way through the set the band took a break for Dan to perform the heartbreaking "Basket" alone, and during the usual massive singalong to "Robots", he spotted a couple of girls with cardboard robot heads in the crowd and invited them on stage.
They wrapped up the set with "Rows of Houses" which built to a chaotic display that, once again, got me really excited about the sum of Dan Mangan + Blacksmith.


As his set wrapped up, Dan urged everyone to head over and see Chad VanGaalen, who was headlining the Garden Stage for the day. Of all the bands playing, I was most excited to see CVG, as I hadn't seen him live in a couple of years (and also I was interested to see how he would be in a big festival setting).
As Rich Terfry made his introduction, Chad played drums behind him before being joined by his two bandmates for the first song of the set, "Cut Off Your Hands" -- also the lead-off track to his new album Shrink Dust. "Where Are You?" was a little more bass-y than the album, and ended with CVG pulling out his saxophone for a jazz-influenced jam ending, before picking things up with a couple of more punk-ish songs. "Poisonous Heads" ending with Chad shushing the crowd and indicating for a bass solo... only for his bass player to decline and Chad take the bass and perform the solo himself.
Once again feeling way too short, he came to a close with "Hangman's Son" for yet another excellent set.


I could have left right there and it would have been a day to remember, but there were still a couple acts left. While I have have never really gotten in to Spoon, I had heard nothing but good things, so I made sure to stick around for them. And despite only knowing a couple songs -- "Don't You Evah" and the fun and bouncy "Underdog" -- they put on a very enjoyable set. Lead singer Britt Daniel had a great presence, and the whole band was incredibly tight. It definitely made me want to delve into their six-album history.

After a DJ set from Buck 65, Tegan & Sara took the stage, but I've never been much of a fan, and the rain had come back with a vengeance, so I decided to beat the inevitable rush of leaving traffic and take off early.

In all it was a fantastic festival -- I can't remember the last time I saw so many excellent sets in a row -- and I really hope CBC gets enough support to continue the festival every year, be it in Toronto, Vancouver, or if they decide to move it around the country.


setlists

Hannah Georgas
Robotic, Somebody, Shortie, Enemies, The Deep End, Ode To Mom, Waiting Game. 

Arkells
Come To Light; Ballad of Hugo Chavez; Michigan Left; Never Thought That This Would Happen; Book Club; Oh, The Boss is Coming!; Kiss Cam; Pulling Punches; Psycho Killer [Talking Heads cover]; Whistleblower.

The Belle Game
Wasted Light, Keeps Me Up At Night, Little Wars (Causing Your Trouble), [new song], River, Wait Up For You. 

Dan Mangan
Oh Fortune; About As Helpful As You Can Be Without Being Any Help At All; Mouthpiece; [new song]; Post-War Blues; Basket; Leaves, Trees, Forest; Robots; Sold; Rows of Houses.

Chad VanGaalen
Cut Off My Hands, Where Are You?, Burning Photographs, Poisonous Heads, Peace on the Rise, Hangman's Son.

Chad VanGaalen @ The Rio Theatre -- 10/15/11

Two years, to the day. That was the last time I had seen Chad VanGaalen live; which is, of course, far too long. He was even playing at the same venue as last time, the Rio Theatre, which this time had sold out. And even though there were many other, out-of-town shenanigans this weekend, I wasn't going to miss this.

Vancouver's Flash Palace was opening the night, with an instrumental set of melodic, ambient, post-rock. The layered songs all kind of flowed together, and they had an intriguing sound, but it was also a little... droning. Maybe I just wasn't in the right mind-set for it, but the band didn't have much stage presence, ether.
That being said, I was pretty interested in checking them out further, and at the end they mentioned they were recording a new album, with vocals, so I'll definitely be keep an ear out to see how that turns out.

And after a fairly quick turnaround, Chad VanGaalen hit the stage, adorned in an incandescent tie-dye shirt. There was a bit of a strange delay at the start, where the lights were down and house music off, but he was still setting equipment up; but he soon apologized and launched into the set, with his band soon joining him. He also apologized, early on, for his last few shows in Vancouver have which he thought have been strange and... less than good, promising to make up for them. His self-deprecation continued later on as he wondered why, exactly, we were all there (him and the band included), but later made sure we knew that he was grateful that everyone was there. As usual, his banter, and stage presence in general, had an incredibly awkward charm with some hilarious moments -- such as when they came back out for the encore Chad and his bass player riffed on possible replacements and attachments for a hook-hand.
Musically, the show was top-notch; probably the best of the three times I've seen him. The set focused on his new album, Diaper Island, with a few older songs, and a few I didn't recognize --  though given the sheer amount of b-sides he has, enough to release eleven albums (on cassette) in the near future, I wouldn't be surprised if they were new. Highlights included the gorgeous "Sara", after which he played a very "VanGaalen-ized" rendition of Happy Birthday in honour of his friend's birthday, and "Molten Light", which got a good amount of [well-deserved] recognition applause. He also showed off his incredible range, with the haunting beauty of "City of Electric Lights" to the bloodcurdling screams of "Freedom for a Policeman".
His shows in the past have always been interesting, unique and a bit eccentric, but always incredible, and this one was no different. There was some obvious improvisation in the set near the end, as they were clearly straying from the setlist, and after a short solo song, "Burning Candle", to "end" it, the band came back for the encore with another new song, and then went into a really weird and hilariously awesome cover of "Summer of '69". It looked like they were about to go into another song after that, but Chad spontaneously proclaimed that to be the perfect ending for the night.
And you know what? It kind of was.

(partial) setlist
Never Cut My Hair, Shave My Pussy, Do Not Fear, Peace On The Rise, Heavy Stones, Sara, (Happy Birthday), City of Electric Light, [mystery song], [mystery song], Replace Me, Burning Photographs, I'm A Witness, [mystery song], Freedom For A Policeman, Molten Light, Rabid Bits of Time, Burning Candle.
(encore) [New Song], Summer of '69

Review-kus.

Originally I wanted to review every album I bought/otherwise listened to this year. Clearly, I've slacked on that. Partially cos there have been a lot of albums that, for whatever reason, I don't feel like writing a full review for. So what I have decided to do is give a few really quick reviews all at once.... in haiku form. Here we go!

Snow Blindness is Crystal Antz by Black Mold (Chad VanGaalen side project)
Twitchy electro
Random homemade instruments
Some brilliant moments

Download Memes by Black Mold

Eats Darkness by Apostle of Hustle
Excellent music
But the spoken interludes
Ruin the flow, mood

Download by Xerxes Apostle of Hustle

Veckatimest by Grizzly Bear
With quirky music
And some intriguing lyrics
Does not disappoint

Download Ready, Able by Grizzly Bear

Yes! by k-os
A solid album
With some great guest musicians
And damn catchy songs.

Download Burning Bridges by k-os

Chad VanGaalen @ The Rio Theatre -- 10/15/09

As much as I love places like the Commodore or the Biltmore, I kind of wish all shows from now on were at The Rio Theatre. It is a movie theatre, so not only does it have fantastic sound, but the seats are incredibly comfortable. Maybe it's not "cool" to be sitting for a show, but I'm sick of dealing with the people and crowds at the front of the stage, or the sometimes poor view from the seated areas/tables. Even at the venues which are normally seated, they either have hard, uncomfortable chairs or no leg room. Or both.
Giant, comfy chairs to recline and relax in. That is what I wish for. In venues and in life, really... But I digress!

First up, going on somewhat early (they had a screening of Where The Wild Things Are that night, so the show had a curfew of 11) was Castlemusic. Jennifer Castle came out alone and lured the crowd in with her fantastic voice and gentle, lilting music. Some of the songs may have been a little same-y, but she was still pretty amazing, and her voice had a softness to it that you couldn't help be drawn in by. One of the songs started with just her singing, with no musical accompaniment, and... wow. Just wow. I would really like to see her live again, especially in a more intimate venue.

Soon after, Chad VanGaalen himself was up, with a band of three others, which included Julie Fader of Great Lake Swimmers on keys. It was kind of an interesting set, in that VanGaalen seemed to be a more talkative than he normally is, and a little more loose between songs. At one point someone shouted something out which he thought was "Fraggle Rock" and he started talking about that, Henson, The Muppets, then somehow got to Videodrome and how Deborah Harry's nude scene was ruined by Cronenberg's weirdness.... And not only that, but he was wearing a black, dreadlocked wig, which he partially explained as being a vestige of a really weird victoria show the night before. Pictures of it can be found over here, on Guttersnipe. It was pretty awesome.
And musically, the show was pretty damn good. The set featured a lot of new songs, which he even apologized for -- "Sorry for playing so many new songs, but the old songs are.... old." -- but as far as I'm concerned, new songs are always welcome. He mostly just stuck to his guitar, not really busting out any of the crazy instruments, so some of the songs sounded a little more stripped down than on the album. Nothing was really lost in the translation to the stage, though; everything still sounded great. Although, this may be why he didn't play some of his more layered songs, which was my one complaint: that he didn't do either Bare Feet on Wet Grip Tape or TMNT Masks, but a lot of the other songs made up for it. ESPECIALLY what ended up being, without a doubt, the highlight of the show. A few songs in, VanGaalen called off stage to his friend, whose birthday it was, and asked for a request. His friend, probably being a smartass, called for Technotronic's Pump Up The Jam. So what happened? VanGaalen sang it. The first couple verses only, and just with a simple drum beat... but even still, it was a pretty epic sight. Cover song of the year right there.

At one point, midway through the set, he kind of apologized for having a weird energy... not really being flat, but having a "medium energy" to the show... but even Chad VanGaalen playing a little off was better than a lot of other artists I've seen. It was a great and fun show, in an awesome venue.