The Mountains & The Trees @ St James and Jess Hill @ Joe's Apartment -- 03/24/11

It was a busy Thursday (really? Thursday?) in Vancouver with no less than four shows worth checking out. Aaide from a fundraiser for Said The Whale at Wise Hall and The Golden Dogs at the Biltmore, there were two acts I wanted to see. Luckily, the two people I wanted to see were staggered enough that I was able to venue hop and see both.

The first? Jon Janes, aka The Mountains & The Trees from Newfoundland. He was on first for an early show at St. James Hall, just him and his guitar (and, his kickdrum suitcase for a song). He played an all-too-short set of about half an hour of his folk-y, singer-songwriter songs. 
Starting the set with a new song that he wrote last time he was in Vancouver -- that I didn't catch the name of -- he alternated between old and new songs, with the highlights being a new song, "Oh Heart", that was incredibly heart wrenching, and the closing song, "Up & Down", a song that is really cool to see live, with his excellent use of looping and a bow to play guitar.
There were a few times in the set where you could tell he was battling an illness, but it wasn't so much during the songs, mostly in his banter -- which was no less charming and amusing. 

setlist
[new song], Little Town, Oh Heart, More & More & More, Winter Blues, Up & Down.

I had some time before the next show, so I was able to catch the next act, The Phonemes. Or, simply just Magali Meagher. She had a pretty nice voice, and a good folky sound, with some catchy tunes. She, too, played for about half an hour, and mid way through traded her guitar for the grand piano that was on stage for a song, bringing out Laura and Mark to help out. She went back to the guitar and Jon joined the three of them for a some with nifty crowd participation; everyone was given pieces of newspaper before the set and everyone clapped along with crumpled newsprint. They staryed out for her last song, which was a more energetic number and probably the best of the set.

Though I was a little sad to miss Laura Barrett and Woodpigeon, it was then time to head over to Joe's Apartment (yes, an actual venue, not the dwelling of Joseph). This was the first time I had been there for a live performance, and it was a pretty decent venue.
The show was the CD release of Orchard, the new album from Vancouver's Jess Hill. She went all out with a full band, which even included some strings and a foley guy for random sound effects. The set consisted of most of her new album, which the band did a fantastic job of recreating;  Her powerful voice blended excellently with the great string arrangements.
Highlights were the song that first hooked me on Jess Hill, "Orchard", the building intensity of "Stagger" and the eerily haunting (pun fully intended) "Give Me Your Ghost", with included a saw for added atmosphere.
She ended the set with a pair of songs I have seen a few times, but never seem to catch the name of (so for the sake of why not, I'll call it "Digging A Hole") the first just her singing, and getting the crowd to scream at a couple points, then launching into a fast paced closer.
Jess also had great charisma on stage, with some charmingly-nervous banter and story telling, giving the night a real intimate feel. None of the venues I've seen Jess in have been all that big, but I have a feeling she would be able to make a room of any size feel as intimate as a coffee house.

I've seen Jess Hill a few times since finding out about her through the Peak Performance Project last year, and I would definitely say it was the best show I've seen her play. Combined with The Mountains & The Trees earlier, it was a a great night of country-spanning music.


setlist
A Common Bird, Of A Shadow, Apple Tree, Orchard, Give me Your Ghost, An Open Letter To My Heart, In The Evening, Stagger, Don't Cry, Grow.

Behind Sapphire w/ Treelines & David Vertesi @ St James Hall -- 01/21/11

It had been a while since I saw a show at St. James Hall; mostly by design, since despite its great sound, it can get incredibly hot and stuffy in there. Especially if you have high energy bands playing. But even though I avoided shows there in the past, I could not pass up the trio of bands there last night.

David Vertesi -- who I've now seen play four times in the last two months -- was up first, and it seems like almost every time he has different composition to his band. This time he was joined by drums and [sometimes upright] bass, the latter of which played by Peter Carruthers (of Said The Whale & Siskiyou). And, of course, the keytar, which drummer Dan Klenner (Hey Ocean!) also played. As I mentioned the last show, as much as I like his acoustic sets, the full band lets him really cut loose, as with the dynamic ending to "Born To Run" or the upbeat "Mountainside". Both of which were great, and adhered to his mantra that night that his songs would "make old people dance and young people cry". Vertesi also seems to be getting more and more talkative during his shows, joking with the crowd between songs. He took a tuning-lull and turned that into the opportunity to come up with a couple "codewords" to elicit cheers throughout the set.

Next up was Treelines, who always bring an exorbitant amount of energy on stage. The Brothers Lockhart and Matt Kelly were joined by fill in drummer, Grant, and started off with "Statuette", cranking the energy -- and power kicks -- through most of the set. They focused on the Young Man EP, but also played a couple from their previous self titled album. One such, when they brought the energy down for a moment, was "Canadian Airlines" where the Matts, Lockhart & Kelly, were joined by Rebecca Slaven on accordion. It was a really cool addition to the song (even if there did seem to be some sound issues with the accordion). There were also a few new songs throughout the set, including one called "Linked Arms" and "Cowbell" which, as you might guess, features a solo from the eponymous instrument.
I think the best indication of the passion Treelines has on stage is bassist Steve Lockhart, who sings along to almost every word of every song... even though he only "officially" joins in on vocals for a few small parts -- the whole band shares that level of energy, and it's one of the main reasons that makes them so fun to watch live.

Finally was Behind Sapphire, who were playing their last Vancouver show before heading out on tour. They hit the stage with a half dozen members (including one new), and while they may not have the same intensity as Treelines before them, they are no less energetic live. Between their soul-funk-pop songs, lead singer Grant singing into his trumpet bell -- not to mention his cape and genie shoes -- and natural joking around between songs, the best way to describe their show would be whimsical.
Starting with "Oh My, What A Fine Day" -- which has a new video out by the fine folks at Amazing Factory -- they definitely had the all ages crowd engaged. Playing mostly from their self titled album, they also had a new song, which showed the band was stretching their musical wings -- while most of their songs don't necessarily sound repetitive, they definitely all have a distinctive sound to them, so it was nice to hear them expanding their repertoire.
I have seen them a few times over the last few months, and I would say they are doing nothing but getting better.

41st & Home CD Release Party w/ Aidan Knight, We Are The City & In Medias Res @ St James Hall -- 05/21/10

I have complained enough before about the heat and stuffiness that can arise at St James Hall, so I will dispense with that and just get onto the show itself.

Due to a myriad of reasons, partially my own failing, partially the universe conspiring against me, I got there a little late. I thought I had missed half of Aidan Knight's set, since there was supposed to be a 730 sharp start time, but I later found out I came in part way through the first song, so that was a relief! For his set there were nine people on stage; a couple of The O'Darlings, who are on his album Versicolour, as well as We Are The City. I was wondering how he would sound live, since his album can be pretty lush, and I was not disappointed. The last half of The Sun was fantastic, and the set just got better from there. Knitting Something Nice was another highlight, with the intensity building throughout the song, and Jasper was a great way to end the set. He had a pretty good stage presence as well, and even through his somewhat nervous banter, you could tell he was incredibly comfortable on stage. I can't wait until I have the chance to see him live again.
setlist:
The Sun, [new song], North East South West, Altar Boys, Knitting Something Nice, Jasper.

Next up was We Are The City, and their set was way too short. It seemed just as they were getting started, they were done. Despite playing only a handful of songs, they were as energetic as ever. Even though this is the fifth time I've seen them in the last few months, they never fail to entertain and amaze. They played a few off of In A Quiet World, and the songs seem to be evolving slightly when played live. Nothing too drastic, just a few additions, which give the songs that much more of a kick. They also threw in a new one (which I am going to guess is called Morning Song) before ending, as they usually do, with Astronomers.
I'm glad they'll be playing the Biltmore in a few weeks, where hopefully they'll play a lot longer.
setlist:
There Are Very Tiny Beasts In The Ground, There Are Very Very Big Lights in the Sky, April, Morning Song[?], Astronomers.

After them was 41st & Home, whose CD release party it was. They, too, packed the stage with members, and their rich sound interested me at first, though some of their songs seemed... not generic, but just lacked a kick. They were good, but nothing really caught my attention. Until their last two songs, which really grabbed me. Most of their songs seemed to start off slow or quiet, and build to a horn-filled ending, but those seemed had a grandiosity to them that I was was present in the rest of their set. If I wasn't incredibly broke, I would have no doubt picked up their CD, but I will be sure to keep an eye out for the next time they are playing.

Unfortunately, I had to bail at 11; I figured a show at St James would be done by then, due to the curfew, but In Medias Res was only just going on. I'm not really sure why they were going on last, since it was 41st & Home's CD release party, but oh well. From what I caught, they were not too bad, and while I may not go to a show with them headlining in the future, I wouldn't be adverse to seeing them live again.

Brasstronaut w/ The Zolas @ St James Hall -- 05/06/10

What was it I said yesterday? That I've had the good fortune of seeing a fair number of shows this year where both/all acts have been great? Well, that continued last night at St James Hall.
Before I go on, though, a mini rant. I love St James Hall. I think it is an awesome place for a show... except for the fact that just about every time I've been there, it's turned really hot in the place. Maybe cos every one I've seen there has been sold out (or close to it) and it's not that big of a hall... but still, they really need to spring for some sort of cooling device.

Anyway! It was a nice early show (am I getting lame for liking the early-ending shows more and more?) so The Zolas hit the stage just before 8, and just wow, they tore the place down. They started off, of course, with "You're Too Cool" and went on to go through most of their album, Tic Toc Tic. As high energy and catchy as the record is, their live show is even more so. Songs like "No Talking" and "Marlaina Kamikaze" sound phenomenal live, and while all four of them on stage had a fantastic energy, Zach is a great & charismatic front man. For one song he hopped off stage and played most of it amongst the crowd up at the front, another he sat with Tom at the keyboard, and throughout the whole show he was just a ball of energy. They threw in a new song, "Guest", which is named for what Zach calls the worst rhyme ever (Guess/Guest, I think it was)... though is a great song despite it. The wrapped up with "Cab Driver", a song that somehow managed to top the rest of the set with its intensity, and a great way to end. And the crowd was just eating them up with every song. I am sure people were there for The Zolas as much as Brasstronaut, and those who weren't were no doubt won over.
Also, Hank Henry Alcock-White was with them on bass again, and I am now convinced that he has the absolute driest sense of humour.

setlist
You're Too Cool, Collapse, Guest, Body Ash, No Talking, Marionettes, These Days, Marlaina Kamikaze, Queen of Relax, Cab Driver.


After a quick turnaround, Brasstronaut came out, in one of the coolest ways a band can. As everyone was early anticipating them, all attention on the stage, faint horns started... but no one was on stage. Everyone soon realized where they were, though. Coming in through the back of the hall, forming a procession through the crowd up to the stage, with all the members of Brasstronaut as well as song extra help with the horns and such. They all crammed on the stage, almost a dozen of them, for the first song. They went into "Six Toes" next, as half the people left leaving only the main members up there to absolutely blow the crowds collective minds. They, too, are almost as (if not moreso) amazing than their album, which is incredibly rich and layered. One of my favourites on Mt. Chimera is "Hearts Trompet", and that was definitely one of the highlights of the show.
There was also a giant sheet acting as a projection screen behind them, which was really cool. Some songs there were video clips, some were just abstract designs, but it really added to the show. For "Insects", the last song of their main set, the screen alternated between venus fly traps and what looked like a 50's science film reel, and was superb emphasis to the dark and haunting mood of the song. For the encore, it really turned into a crazy multimedia experience, from the videos on screen, the lasers and lights all around the hall mimicking stars to the bubble wands being handed out and the monk manning a spotlight shining it all over the hall.
They also had the coolest thing, which I initially thought was a Space-Clarinet, but it turns out it is an EWI (or Electric Wind Instrument). It both looked and sounded awesome.
[and I almost forgot, in the middle of the show, they announced that one of the members, John Walsh (I believe) had just become a new father earlier that day, so much congratulations are in order]
In all, it was a pretty incredible spectacle, with excellent music to back it up, and even though I love seeing bands in smaller, more intimate venues, it is now one of my musical goals in life to see them play the Orpheum. That just seems like it would be the perfect setting for them.

Basia Bulat @ St James Hall -- 03/05/10

This seems familiar. It was September the last time Basia Bulat was in town, playing the same place, St James Hall. I'll dispense with the bad-sequel-title jokes* and get on with the show itself.

Opening was Katie Stelmanis. She came out and took a seat at the piano on stage and promptly silenced the room with her superb voice and masterful piano skills. It was no surprise to find out after she is classically trained. After the first song she tried to get some backup from her laptop, but when that failed, she ended up doing an acoustic set, more or less, with just the keyboard. She also had a pair of mics, one normal and one which I'll call the "epic chorus" mic. I quite liked her set and am intrigued to hear what she sounds like normally, what it would have sounded like if she had got the computer up and running properly. Hopefully she'll be back soon and I'll be able to find out.
(fun fact: Katie is on blocks recording club records, the same label as Owen Pallett. I first heard Basia Bulat when she opened for him, when he was still Final Fantasy, a couple years ago)

After a short break, Basia Bulat hit the stage with band mates Allison “Wonderland” Stewart on viola and backing vocals and brother Bobby Bulat on drums. They started out with a couple of her more well known songs like new single "Heart of my Own" and the incredibly infectious "In The Night". That started the night with a high energy, and even with a simple three-peice of drums, viola and guitar/autoharp/piano (whatever Basia was playing that that moment), they had no problem maintaining that energy throughout the set. There was a great moment where Bulat said something along the lines of "How do you make folk music more rock & roll? Add some distortion pedal to the viola!"
Though there were song of her slower songs; at one point Allison & Bobby took leave of the stage for Basia to play of the mellower songs alone. After a few songs they came back with Katie Stelmanis to join them for a song on the piano, and closed out the set.
The encore started off with Basia Bulat wanting to do something she did last time she was here, which was to come to the front of the stage with her ukulele, and Allison for backing vocals and handclaps, and sing "Before I Knew" with no amplification for her voice. As I said last time, I have no doubt she'd be able to pull that off in a larger venue. It's also kind of funny that every time I've seen a show at St James Hall, the performers have done a song without the aide of microphones.
They played another couple songs before Basia Bulat took to the front of the stage again, this time alone and without an instrument, and sang one last, gorgeous, song before thanking us again and taking off. However, the crowd was still hungry for more, and in what may have been a rare for-reals-encore, they came back out to do one last song.

And it was a great crowd, too. Very respectful and silent during the songs. There were even a couple songs that slowly faded to nothing, and the crowd waited to go crazy only when the final note was played.
Even though the hall was starting to get kind of warm and stuffy (again) and the seating -- church pews -- was not very friendly to tell people, St James Hall is still a pretty damn nice & intimate venue, and perfect for someone like Basia Bulat. I'm glad that I was able to see her there (twice), as her next show here will probably be somewhere bigger since this show sold out.

*Bad sequel title jokes (as in, both the sequel titles, and the jokes, are bad): Basia Bulat 2: Folk Harder. 2 Basia 2 Bulat. Basia Bulat 2: Autoharp Boogaloo.