Rah Rah @ Media Club -- 03/05/15

I didn't even notice that The Media Club had (apparently?) been closed for the last couple months, but the other day they celebrated their grand re-opening with one of Regina's finest, as Rah Rah teased their upcoming album, Vessels, out this spring
Though, it didn't seem like much had changed; there was a fresh coat of paint and the bathrooms were not as dank as they once were, but it may still be a work in progress.


First up was Savvie opening the show. Recently transformed from the folksy Redbird, Savannah Leigh Wellman has tongue-in-cheek called her new sound "Sex Rock" (though doesn't specify whose tongue in whose cheek), with crunchy guitars and reverb-drenched vocals to get your hips swaying.
The set was pretty much a shorter version of her recent album release show, playing most of the recently released Night Eyes, with songs ranging from the sly "Break You In", the grittier "Gravity", and the smooth groove of "I Fall Again". My favourite of the set, "Dreams of Surrender", was an intense heartbreaker of a song with Savannah's vocals soaring and culminating with Jason Blood shredding on guitar.


Not long after, the five members of Rah Rah packed the stage. There wasn't as much instrument-switching as previous shows -- most notably, Erin Passmore did not hop behind the drum kit, rather stayed up front on keyboard and guitar. Nearly all members shared vocal duties, but the bulk were split between Erin and Marshall Burns, as they burst out the gates with what I think was a new song, followed by "Art and a Wife" from their previous The Poet's Dead.

The set spanned all three albums as well as teased their upcoming Vessels, with a few songs that really got me excited for the new record. Particularly one called "Chip Off the Heart" (and probably not the mondegreen "Chipmunk for Hire") with Kristina Hedlund on lead vocals. Other highlights included "Henry" with its gang-vocal chorus, the chaotic climax of "First Kiss", and "20s", with a line that has started to hit a little too close to home, "I spent my twenties on rock & roll, I'll spend my thirties feeling old".

As the main set came to a close, they finished with a pair of songs that could only come from a Regina band. First "Duet for Emmylou and the Grievous Angel" which is my favourite of theirs, likely a shared sentiment as just about everyone in the room was singing along, especially "in Regina... Saskatchewan" as Erin and Marshall's voices blended together beautifully. Then they closed out with "Prairie Girl", Erin's voice once more soaring over the ridiculously catchy song.
But of course, they came back out for a couple more, leaving the crowd with a couple more new songs, one sweet song, and one that they were playing live in front of people for the first time ever.


Rah Rah is a ridiculously fun band live, each member full of energy and enthusiasm, and the show was a great tease for the upcoming album. When they first released "Good Winter", I liked it, but I thought it wasn't that big of a departure from The Poet's Dead. But the other new songs sounded like a really great step forward, and I am looking forward to Vessels even more now. And eagerly anticipating the following tour.

Rah Rah @ Biltmore -- 02/20/14

Even though I've seen Regina's Rah Rah three times in the last year and a half, it's always been opening for someone else. Well, now with a Juno nomination under their belts for Alternative Album of the Year, the Regina band returns to Vancouver for their first headlining show in quite a while.

I arrived at the venue just to catch the last couple songs from Brandon Wolfe Scott. The Yukon Blonde guitarist was playing his own solo material, joined by Johnny 99 (aka John Sponarski) on pedal steel. His songs were much more laid back than Yukon Blonde's rock, with more of a country twang. It was still pretty noisy at the venue for the few songs I saw, so I wouldn't mind catching him again at a more attentive place, where I can really dig into the songs.

Next up was singer-songwriter, and fellow Reginan, Andy Shauf. The only other time I saw him live, Shauf was alone on stage, and at the time I remember thinking I would like to see him with a backing band. Well, fortunately this time he was joined by a full band that included strings, woodwinds, and keys, giving a lush and rich sound to his melancholic songs. The main I noticed most about the set was how well it was put together. Starting soft and sad, the set built in intensity as they went, only to drop back down; strung together, the songs had a certain ebb and flow that made for an engaging show.
While his set was good., I felt like I would have liked it a lot more if I were more familiar with his music. Which means I have to spin The Bearer of Bad News a couple times before his next trip to Vancouver.

And finally, the six members of Rah Rah filled the stage. They kicked off with an older song, "The Betrayal pt. 1", and with a relentless high energy, they barely slowed down for an hour. There are few other bands who are as fun to watch, as each member has a great stage presence and an enthusiasm that infects the crowd. Their collection of undeniably catchy songs doesn't hurt either, and the set spanned their three album, but focused mostly on the newest, The Poet's Dead.
Highlights included the raucous "Art and a Wife"; a great showcase of Erin Passmore's vocals in "I'm A Killer"; and "20s", which includes the ever-relatable line "I spent my twenties on rock & roll, I'll spend my thirties feeling old"

I don't think a single member of the band stayed on one instrument all night, as they traded and swapped places -- sometimes even in the middle of the song, seamlessly swapping out the drummer, or trading guitar and bass. And at one point, they were joined by sometimes-member Leif Thorseth for one song, my favourite of theirs, "Duet for Emmylou and the Grievous Angel" which literally gave me chills as Erin and Marshall's voices traded off verses for the heart wrenching song. 

They ended the main set with a fun cover of Robyn's "Dancing On My Own" before coming back out for a couple more, the modern love story "Little Poems" and finally bookending the set with another form their first album Going Steady, "Cuba/Peru".

Between the band's intense energy, the large inflatable letters -- R, A, and H -- which they threw into the crowd partway through the set, and the confetti cannon, Rah Rah once again showed that when it comes to live shows, they are less a band and more a force of nature.

setlist
The Betrayal pt 1, Saint, The Poet's Dead, Run, I'm A Killer, The Innocent One, 20s, Art and a Wife, First Kiss, Dead Men, Duet for Emmylou and the Grievous Angel, Prairie Girl, Dancing On My Own [Robyn cover].
(encore) Little Poems, Cuba/Peru.

Plants & Animals and The Deep Dark Woods @ Commodore -- 11/01/12

There have been some solid all-around-shows this year, but this one might take the cake. Not only was the co-headlining bill of Plants & Animals and The Deep Dark Woods enticing enough, but adding Rah Rah as the opener was just perfection.

The last time I saw Rah Rah, their seven members were cramped on stage, so they had a bit more room at the Commodore, even if they only utilized half of the stage. They opened with "Art & A Wife", the first single and opening track from their latest album The Poet's Dead, and the older "Tentacles"; the undeniable catchyness and and near-perfect boy/girl vocals of both songs set the stage for their too-short-set. "Prairie Girl" saw Erin Passmore come out from behind the drums taking over on keys, and showing off her incredibly strong vocals and "Beaches" featured a bit of a percussion breakdown, with half the band grabbed drumsticks to knock on random objects, then gather 'round the drum kit for the explosive ending. After about half an hour, they tossed their set decorations -- their inflatable R, A and H -- into the crowd to pass around as they ended with my favourite song of theirs, "Duet for Emmylou and the Grievous Angel", a gorgeous song full of raw emotion and heartache. 
They put on an incredibly fun set, and even though it's the third time I've seen them since the spring, each time has felt too short and has left me wanting more.

Next up was co-headliner, The Deep Dark Woods. I had heard a lot of good things about the band, but I had just never got a chance to get into them, so I was very interested to see them live. And they definitely lived up to the hype. With some excellent, moody back-lighting the folky, rootsy four piece -- with an almost country twang -- was driven by some amazing guitar work from Burke Barlow and the low and rich vocals of Ryan Boldt.
Part way through the set, Kendel Carson come out to accompany them on violin for a few songs, adding a nice layer to the already deep and lush songs, and they sprinkled the set with the occasional guitar solo, or extended jamming; at times it felt like they were just completely improvising -- likely the case when they had a technical malfunction with the keys and the rest of the band covered and kept going. But it never crossed the line into boring or self-indulgent, the skilled musicians always keeping the interest of the crowd.
The set lasted for a little over an hour, and the Saskatoon band definitely gained a fan in me that night, and no doubt more than a few others in the crowd as well.

And rounding out the night was Montreal's Plants & Animals. The last time I saw them, earlier this year, it was in a venue that I am... not very fond of... so I was especially excited to see them at the Commodore once more. Kicking off the set with one of the few songs to rock with an autoharp, "Bye Bye Bye", the trio -- who are joined by a bass player while on tour -- brought an incredible energy right out of the gate, and had people singing along to the chorus.
The band creates a sound so rich that you would swear there's twice as many of them on stage, and the tunes manage to stride that line between complex and catchy, usually managing to be both. One of the highlights was one such example, the quirky "Crisis", one of my favourites off their new album The End Of That. They also took a page out of Van Morrison's songbook and covered "Into The Mystic", during which one concert-goer decided it would be the perfect time to pop the question, proposing to his girlfriend in the front row. She said yes, and they caught the attention of the band, who cheered them on.
After the high speed "The Mama Papa", they ended it off with "Lightshow", only to come back for a couple more; one of my favourite songs, "Mercy" which starts out energetic enough then explodes into a frenzy of guitars, a chanted chorus, and general revelry. That would have been a perfect ending, but they had one more for the crowd, another cover, "Foggy Notion" from The Velvet Underground.

Any of these three bands I would be more than willing to see on their own, and even though their styles differ, and it seems like it might have been an odd fit on paper, they ended up coming together quite well, making it one of the best "all around" shows I've seen this year.

setlist
Bye Bye Bye, Song for Love, Kon Tiki, 2010, Good Friend, Crisis, Into the Mystic [Van Morrison cover], Lola Who?, The Mama Papa, Lightshow.
(encore) Mercy, Foggy Nation [Velver Underground cover]

Imaginary Cities w/ Rah Rah @ Waldorf -- 07/12/12

One of my favourite new bands from last year is Imaginary Cities, so when I heard they would be stopping at the Waldorf on their recent tour, it was a no brainer. And then finding out that their Hidden Pony label-mates Rah Rah -- who put on one of my favourite sets at NXNE -- were opening, well that just put the proverbial icing on the already delicious cake.


The night started off with another Manitoba band, Federal Lights. They were a perfectly acceptable opener, with upbeat pop-rock that fit well with the other bands. They wore a lot of influences on their sleeve, and while they were a decent band, they weren't really anything too memorable.

Next up was Rah Rah, whose seven members packed the small stage of the Waldorf. They started off with a new song, "Art and a Wife" and for the next half hour they filled the room with an insane energy, and great harmonies & group vocals. They had the crowd dancing from start to finish, to a few other songs from the upcoming album, The Poet's Dead, and singing along to old favourites like the insanely upbeat "Tentacles".
Throughout the set they were changing instruments, with Erin Passmore coming out from behind the drums to jump on the keys and allow her amazing voice to be showcased, alongside Marshall Burns and her brother Joel, and Kristina Hedlund also sharing vocals and going from violin to keyboard to accordion.
"Beaches" saw a couple members grab drumsticks and add to the percussion, rapping on not only the drum kit and cymbals, but various parts of the stage, and after the beautiful "Duet for Emmylou and the Grievous Angel" they ended the set with a huge bang, the one-two punch of "Breaking Hearts" and "Arrow", throwing three inflatable letters -- an R, an A and an H -- to the crowd, smashing a small pinata full of candy, and ended with a burst of confetti.
Their set was pure fun, and they can't come back to Vancouver soon enough.

That would have been a satisfying show right there, but there was still Imaginary Cities to come. The Winnipeg band may not have matched up in raw energy, but still put on an amazing set. They have a great chemistry, particularly between Marti Sarbit and Rusty Matyas, and especially for a band that is still relatively young. Marti's amazing and enchanting voice was punctuated by her stage presence -- dancing and jumping around with infectious enthusiasm -- and combined with Rusty's amazing musicianship, they put on a truly captivating set.
The band hit a lot of their first album, Temporary Resident, including a couple of my favourites; "Ride This Out", which starts soft and then explodes into a frantic ending, and the soft and heartbreaking "Where'd All The Living Go". They also did their cover of Cake's "Mexico" before a couple new songs, teasing recording their second album soon, and "ending" the set with the infinitely catchy "Hummingbird".
They came back out for the usual encore, visibly overwhelmed by the support they had from the packed Waldorf, with a sweet song called "True Love", written by Rusty for his new wife, before capping off the night with the perfect closer, "That's Where It's At, Sam".

It would be tough not to be overshadowed by Rah Rah, but Imaginary Cities more than pulled it off with an amazing set, for what may be the best double bill of the year.

setlist
Chasing the Sunset; Temporary Resident; Say You; Marry the Sea; Ride This Out; Cherry Blossom Tree; Calm Before the Storm; Where's All The Living Go; Mexico [Cake cover]; Bells of Cologne; Water Under the Bridge; Hummingbird.
(encore) True Love; That's Where It's At, Sam.

North by North East: Friday

North by North East continues in Toronto, and the plan for Friday night was to head to Yonge & Dundas Square, the crux of NXNE, for some free outdoor shows.

First up was Eight and a Half; two parts The Stills, one part Broken Social Scene, with Dave Hamlin, Liam O'Niel and Justin Peroff. I missed the first part of the set, but still managed to catch the last few songs. The trio had a good dynamic on stage, and you could definitely tell they were all completely at home playing live. I wasn't sure how their moody, electronic synth driven pop sound would translate live, but they did an excellent job with songs like "Go Ego" and "Scissors", making it seem like there were much more than just the three of them on stage, and they finished the set with "Oh, My Head", starting soft and build in intensity. What I caught was good, but since I missed some of it, it ended up being just a tease. I hope they're able to make it to Vancouver sometime soon so I can see them again. 

Next up was Montreal's Plants and Animals. Their dense and layered rock always seems like it should come from twice as many members as are on stage, but the four of them built hug sonic soundscapes from the free outdoor stage. Starting off with "Undone Melody", they played a set that seemed too short, with songs off all three of their albums. The erratic "Crisis!", one of my favourites from the new album, was great live, and they broke out the autoharp for the rousing "Bye Bye Bye". They capped it off with "Faerie Dance" that started calm and mellow and then exploded into a swirling mass of guitars, and the band going right up to the barrier with microphones for the crowd to join in on the chorus. The set was maybe a little too "bass-y", with both the bass guitar and drum drowning other things out at times, but not enough to spoil an otherwise great set. 

Going in to NXNE I had a self-imposed rule not to see any Vancouver bands -- especially if they conflicted with something -- since it would be more likely to see them at home. The obvious exception to that rule was Matthew Good. Taking the stage with the familiar chanting of  "K-I-C-K-A-S-S, that's the way we spell success" Good and his backing band launched into "Giant" and played a nearly hour and a half set that hit a lot of the major songs and singles from his career.
There's always a strange dichotomy to Matthew Good shows, since his songs can be so serious and full of raw emotion -- when he spits out lines like "it feels like time to fuck or leave" through grit teeth in "Last Parade" -- but then he's always so jovial between songs, joking about things like the giant billboards across the square from the stage; one with a swimsuit ad that came up every two minutes.
Other highlights from the set included "Shallow's Low", the boisterous "Zero Orchestra", and a string from Beautiful Midnight with nearly the entire square singing along to "Hello Time Bomb" and "Load Me Up".

The eight minute roller coaster "Non Populus" weaved expertly from soft and beautiful to chaotic and cacophonous and he ended with another pair of huge sing alongs with "Apparitions" and, for the encore, "Everything is Automatic".

I have seen Matthew Good many times now, in many different settings, and while this show was a bit more focused on the hits, to cater to the "free, outdoor" aspect the show, that didn't compromise the quality; it was still an amazing set.

That was all for the free shows at Yonge & Dundas Square, but the night was not over. There was one more stop to go: Rah Rah at the Dakota Tavern. I had never seen Rah Rah before, so I was very excited to finally see them, and they did not disappoint. They packed the small stage, and even had their cat mascot with them, for a set bubbling over with a great energy and ridiculous amounts of fun.
"Tentacles" had any people singing along, and they played a good number of new songs, from their new 7", and there was even some personnel changed on the fly, as drummer Erin Passmore swapped out to come to the front to sing and play guitar and keys.
My only complaint that the set seemed far too short. They ended almost abruptly with the lead singer procaiming "This is the part of the set where I put away my guitar" and that was it. Luckily, I found out via a tweet after the show they'll be in Vancouver soon (with Imaginary Cities, no less!) so I won't have to wait long to see them again.

Saturday will be another jam packed day for NXNE, with a CBC Radio 3 listener picnic, and then three of the acts I am most excited to see in the evening, of Montreal, The Flaming Lips and Matt Mays.