Angels On High

On Tuesday, I was at The Drake Underground for my last live show of this year. It was a wonderful evening to cap off 2018. Georgian Bay opened the night. This duo sang of mining towns and everyday observations. They were multi-instrumentalists (mandolin, violin, guitar) and sang in harmony. The songs often mix both English and French in the lyrics. The new song Roi was a rousing feminist anthem. Though if it was anti-patriarchical, "je suis une reine" would be more suitable lyrics.

The O'Pears album release set was the best show that I saw this year. The trio took the stage and dazzled us with complex harmonies. The swelling chorus from still un-released song Thunder gave me goose-bumps. When you think it couldn't get any better, they brought in a full band, a string section, and 3 additional back-up singers. This made the songs from Stay Warm astonishingly beautiful live, surpassing even their wonderful recording. Then they dialed it back for the last few songs, showing that just their voice was enough on covers River (Joni Mitchell), The Way I Feel (Gordon Lightfoot), and Have Yourself A Merry Little Christmas.

Songs of Love

On a quiet Sunday night, I dropped by The Burdock for 2 troubadours. It was a sparse but attentive crowd. Jenny Berkel opened the night. She had a low, calm voice but that may be due to a lingering illness. I enjoyed her intricate fingering on the guitar. The multi-part harmonies provided by her sister and Stephen Foster (Omhouse) were sweet and understated.

Foster came back as the drummer for headliner Luka. I don't love this all-male configuration of this band because the 60s crooner style and unapologetically romantic songs of Luke Kuplowsky really soar with female back-up singers. Luckily, one of them was in the audience tonight. Julie Arsenault joined Luka for 2 numbers and her contributions were immediately apparent. But I still quite like his set of love and heartache, though I usually find most love songs boring. The addition of flautist Ann Phung, who handled most of the solos, gave some fun and whimsy to the music.

Jingle Bells

On Friday, I was at a free Christmas market at Longboat Hall, the underground venue below The Great Hall on Queen St. W. As Lot 40 was the sponsor, there were lots of whiskey concoctions in people's hands. There weren't too many vendors though. Not only was the space small, but most of it was left clear for the crowd to mingle, dance, and listen to the live bands. So along the walls there was a temporary tattoo vendor and the usual hand-made paper, scarves, lotion sellers. There were also a few small art installations scattered about.

A smaller Dwayne Gretzky configuration took the stage at 8 pm. As Tyler Kite mentioned early on, this was going to be a chill set. It was a definitely low-key collection of Dad Rock songs. It was an odd choice especially considering the young age of the crowd. Perhaps it was inspired by the setting or the corporate sponsor. Though enjoyable, new listeners might wonder from this set why this cover band would sell out The Danforth Music Hall.

As there weren't any Christmas merchandise that interested me, I wasn't there to drink and schmooze, and the CHUM FM vibe was soporific, I decided to leave early though the Surfrajettes was setting up and a 2nd Gretzky set was scheduled for 11 pm.

Moon Bright

On Thursday, I was at the Monarch Tavern for an eclectic but enjoyable show. Prince Ness started early but had a good crowd. Their set reminded me a bit of the Talking Heads with a little bit of Hooded Fang from their early twee pop phase. They had a small, vocal group of fans who danced weird (this is a good thing). In my younger days, Prince Ness would probably be the sort of local, under-the-radar band I'd embraced.

It's been a while since Carmen Elle sang outside of her front-woman gig with Diana. And probably the first time I've seen her doing a solo acoustic set. But she brought all her electric guitar skills including driving chords and ring harmonics to some personal lyrics. Her assured stage presence kept the audience rapt throughout.

I saw NYC band Ava Luna opened for Warpaint a few years ago and was impressed. After tonight, and likely the most engaging set I've seen this year, I'm always bemused by which band achieve success. By any metric, the performance theatre + devo + funk energy of this band should be seen at a much larger venue than this rinky-dink (if loved) old bar. No matter the song, the drum and bass kept a complex, but tight, section. The 3 singers brought their own stylings from R'n'B to musical theatre. It was a wonderful set both musically and visually, as well as making your butt move.

Voices Carry

On Wednesday, I went to The Lula Lounge for a significant milestone: the 20th anniversary of a cappella band Retrocity. Since I have seen numerous shows from this 80s cover band over 15 years, I thought there'd be no more surprises but I was wrong.

First, every former member except for 1 made an appearance. Kevin Fox (now with UK-based Swingle Singers) flew in for the occasion. His wonderful voice and range was a lovely addition especially on Africa as lead. Tom Lillington was also there. I vaguely remembered having heard his smooth vocals a long time ago. This was confirmed when he did She Blinded Me With Science, a number Retrocity hasn't done in years. Theresa, with a her funky faux-hawk, was a complete surprise. Turns out she was with them prior to 2003. And of course, the 7 current members contributed to an evening of complex harmonies and arrangements.

In addition to numerous songs and medleys, one running theme was that each member would pick a 80s song of significance to them. One small negative was that some older arrangements were chosen, and these numbers made clear how much Retrocity has grown musically. Skits made a re-appearance including the introduction of every member via a medley and the Family Ties theme as each singer posed behind a picture frame. New additions such as ad-libbing songs based on audience suggestion wowed us with their talent. It was a great evening of music and laughter.

Dance With Me

On Friday, The Horseshoe hosted some high-energy sets. A few years ago, I caught a few songs from For Esmé. These didn't inspire me to follow their progress. Since then, it sounds like they've pivoted to more synth-y dance music. But over the funky groove, there were some excellent feminist lyrics. This was a nice evolution in their sound.

We are monroe from Montréal played muscular rock with a funky vibe. The bass player resembled the bassist from defunct band Hands and Teeth. If that was him, it would explain why they drove to Toronto today; the lead guitarist from that band now plays with tonight's headliner.

To be honest, I'm not a huge fan of Fast Romantics. They have a great sound but perhaps I'm just tired of that Arcade Fires vibe of sprawling orchestral pop. The core band is already large at 6 members, when they bring out a 3-member horn section on a few numbers, it felt a bit overstuffed. But over the course of the last few years, it seems to me that they're on the cusp of either exploding into a larger mainstream fan-base or calling it a day. With a packed, young crowd who sang lustily to songs like Julia and Everybody Wants To Steal Your Heart, Fast Romantics might just have enough momentum to break through.

Wreck Ya Vick

Around November, the official Taste of Iceland Festival takes place around Toronto. I've never attended but there was a Nordic vibe at The Burdock on Friday with 2 artists of Icelandic descent playing with their friends and family in attendance. First up was Gabe Kastner. His set was average with a typical sad-sack indie theme. One weakness was a penchant for odd chords that didn't work for me.

 Lindy Vopnfjörd and his cello/back-up partner brought up the energy and fun. Although there was some love songs, he also sang about the surveillance state and other topics. Sigrún Stella was similar to Vopnfjörd but leaning more to the folk side of pop. Her wordy set painted some vivid images.

The final act was Emilie Mover. She is my favourite singer/songwriter and I always attend any of her shows. So although it pained me that most of the crowd has left, it was also nice to experience her solo set without the early raucousness. Mover also painted vivid portraits but with deceptively simple rhymes. Yet they were never the usual ones you'd hear in pop songs. Similarly, her chords would suddenly transition from pop into a bridge or coda full of jazz structures. Apparently, Kastner caused her first broken heart and propelled her into songwriting. So I'm grateful to him for wonderful evenings like tonight.

Call Me Mae Be

I saw Ria Mae at a free show and Dundas Square. It was good but the anemic set-up sounded off. So on Tuesday, I decided to give her a second chance at The Mod Club. Opener RALPH got the crowd going with some dancey pop. The simple arrangements and conventional lyrics didn't particular grab me. But singer Raffaella Weyman already has plenty of fans in the audience and will likely achieve some mainstream success. (Update: Her recordings have much more intricacies and layers).

I was impressed with Ria Mae's set. Her years spent writing indie songs has honed her craft. Within the constraint of a pop song, she was able to make the lyrics interesting with different rhyme schemes, verse length and so on. It was a tight trio and long-time tour mate Chris Wong (on synth and bass) made a solid support especially on the slower numbers that hearkened back to those indie years. Mae herself seemed much more comfortable on stage than before. As a queer musician, there was large contingent in the crowd loving her non-hetero lyrics. They also loved that she has settled in Toronto from the East Coast.

Manic-less Monday

Monday night shows are rare for me, especially since I don't go to The Horseshoe for their free Monday showcases any more. But I was at The Opera House tonight for opener Men I Trust. While waiting for the first set, I heard snippets of conversation from the growing crowd. One girl was recounting some housemates-from-hell stories in her new digs. Luckily I've always had reasonable neighbours, even when I was living in a rooming house when I first moved to Toronto.

Men I Trust kept the chill vibe going with their smooth bass and shimmering chords. They played a couple of new songs from their  upcoming album. These had more of an indie pop sound and on first listen don't grab me quite as much. Wild Nothing's style was not compelling when I streamed a few tracks before the show. I would normally stay to give the live set a shot but tomorrow was a work-day.

Body Politics

On Friday I was at the Fleck Dance Theatre for proartedanza's first narrative work. Though more rooted in classical techniques than other contemporary dance companies, their previous performances were still typically conceptual. But tonight with Figaro 2.0, they added story-telling to their choreography.

It was a mixed result for me. I liked their use of silent movie titles to introduce the characters, and later, to quickly recap some of the sub-plots. Their dancing was as strong and physical as always. Of particular note was the fraught dynamics between Susanna (Victoria Mehaffey) and The Count (Daniel McArthur).

With their more abstract work, the audience does the heavy lifting in interpretation. With this narrative piece, proartedanza is the one that has to do the work. And the choreographer couldn't quite plumb the emotional depths. But for a first attempt, it was still enjoyable. Overall, this expressive interpretation of The Marriage of Figaro, gave those of us who may balk at the problematic libretto especially in the #MeToo era, an entry into the beautiful music.

Power Square

On Wednesday, I went to a sold-out show at Lee's Palace. Dorothea Paas played an acoustic solo set to an almost full-house. This was unusual that there were so many people so early and might have contributed a bit to her nerves. But they cheered encouragingly to her for a slight flub and was quietly attentive to her clear light vocals.

This was U.S. Girls' biggest night in their hometown. There was a palpable buzz in the air. From some overheard conversations, it was a first-time show for numerous people. All those positive press coverage for Meg Remy must have finally got her some mainstream attention. Just like the Horseshoe Tavern gig earlier this year, it was full of high-energy 60s and 70s disco-esque music backed by political and feminist lyrics. She went full James Brown near the end, not only with her dancing, but also in "collapsing" on stage, being helped up, and continuing to sing.

How did those first-timers reacted? They couldn't stop talking and raving about it after the concert, especially Remy's magnetic stage presence.

Against The Dying

Massey Hall presents is an odd series, as it often takes place in other venues. And a Tuesday night show at Lula Lounge for the new album from Montréal-based Kandle was an odd choice. Whether slow-burn blues-tinged numbers or straight-up power-rock songs, her music doesn't seem to fit this West-End location where guests usually sit at tables eating dinner while listening to jazz or world music.

Luckily tonight they had cleared out the middle section so people could fill up that space up to the stage. Kandle had brought a full band tonight including a synth/organist and a guest tenor sax. The sound system wasn't quite beefy enough to handle a rock show, but it still conveyed the power in numbers like Bender and When My Body Breaks. She was a charismatic performer, commanding the attention of the audience. It was in part because, yes, Osbourne is quite physically attractive, but mostly due to the emotional quality of her voice that ranged from vulnerable quiver to full-throated roar. She should be much bigger than she is and it will be interesting to see if she can break out in the next year.

Party For All

On a chilly Sunday afternoon, a huge crowd gathered on Queen St. W at the Eaton Centre for the annual unveiling of Saks' Holiday windows. But they were really here for the entertainment which included in previous years Mariah Carey.

A DJ played a bunch of tracks but few were dancing. They were either chatting, checking their phones, or shivering and waiting impatiently. Some younger teens got loud for up-and-coming teen idol Johnny Orlando. His short set was definitely mainstream pop, but I preferred the young fans excitement over the ironic snarkiness of a couple of indie snobs behind me. Finally Carly Rep Jepsen took the stage for a fun but too-short acoustic set of 4 songs. Given its length, did she really have to cover 2 Christmas songs? (Actually, Let It Snow used to be a Valentine, ie February, song). I'm still waiting for my head-lining, full synth Jepsen show.

Bananas

Lately, musicians who have a reasonably large fan base but perhaps not quite an arena-level size have taken to selling 1-2 nights at a mid-size venues and adding more shows if there's demand. So on Saturday, I found myself at The Danforth Music Hall for show 3 of 5 for Afie Jurvanen (aka Bahamas).

Judging by the cheering in the crowd, solo opener Tim Baker had a pretty good fan base as well, probably from his Hey Rosetta! days. He played a variety of instruments and on songs like 18th hole (about attending an exes' wedding) stayed on the right side of white man screaming (see Glen Hansard). As a recent transplant from the East Coast, he also previewed a number of songs about the alienation of living in a condo in downtown Toronto.

Bahamas charmed the crowd with his aw-shucks mannerism and dad jokes, but his music straddled the line between sexy bangers (All The Time) and introspective indie like Lost In The Light. A song so popular he played it twice to open and close his set, even if the second time started as a jokey stunt. He was backed by a great band especially Christine Bougie on lead guitar (though she and Jurvanen traded plenty of solos and dual guitar harmonies throughout the night) and Felicity Williams on background vocals. Her soaring soprano was the highlight of almost every number and elicited plenty of cheering from the audience.

Triple Threat

On Saturday, I was at The Harbourfront Theatre to watch a retrospective celebrating Art of Time (a musical group) 20-year anniversary. For this particular performance, it was the collaboration they have done with dance companies.

Fifteen Heterosexual Duets (James Kudelka) found 5 pairs of dancers, accompanied by violin and piano, displayed various male-female dynamics. It was a propulsive start to evening with a flurry of lifts, spins, and pas-de-deux. Two actors played out Romeo and Juliet Act 3 Scene 5 before the scene was reprised as another Kudelka piece.

After a short pause, National Ballet's Tanya Howard explored contemporary movements while Andrew Burasko hammered out a John Cage composition. The most affecting performance for me was the final work Misesere. Five dancers, constantly entwined and connected, moved with deliberation through various tableaus. If these often carried religious overtone, it was due to Allegri's composition, and the exquisite singing of the 20-member Tafelmusik Chamber Choir. Standing on two levels behind the dancers, their voices rang out with such grace that they'd make believers out of almost anyone.

That Is Not Dead

I attended the early Death To T.O. shows at the defunct Silver Dollar venue but haven't gone since they moved to the larger Lee's Palace. This local-bands-cover-famous-bands series also died recently. But since it was resurrected this year I thought I'd check out its evolution. Like before, the 20-minute sets were rotated between two venues; in this case, the larger Lee's downstairs and The Dance Cave upstairs. As the night grew, the crush got larger and larger. I  left relatively early as the list of later sets wasn't appealing enough versus the enormous crowd.

In Drift did a fun Blondie and should be commended for not playing the mega hits. The Effens looked and sounded like CCR. And for the most part the bands also dressed like their covered band or at least of that era. None more so than Rapport. They all dressed in the finest 80s outfit but Maddie Wilde was Cyndi Lauper, complete with colourful skirts and dyed hair. She even had a New Yawk accent for the banter.  Then it was downstairs for the danceable New Order (Komodo). By this time, it was getting too hard for me to switch venues. So I missed both sets of Patti Smith and Pink Floyd in The Cave. At Lee's, Nyssa was channeling Elvis Presley. This was the first time I saw her with a backingn band instead of just backing tracks and samples. She has the swagger to be a great front-woman. The last set of the night for me was an uplifting set of The Cranberries (Jessica Upton Crowe). I think many in the audience also found it cathartic.

Spring Loaded

On Thursday, The Danforth Music Hall hosted two incredibly high-energy performers. First up was Big Freedia. She brought a DJ, 2 dancers, a band to book-end her set, and Atlanta Bounce to Toronto. This genre recently hit the mainstream with several songs from Drake, which Big Freedia sang including Nice For What. Both the dancers and Freedia gyrated and twerked all night, finally inviting some Toronto audience members on stage to show if they can also shake their money maker.

New Orleans-based Tank and The Bangas kept the energy going with a theatrical set equal parts funk, spoken word and rap. Though lead singer Tarriona Ball sometimes unleashed her pipes, when she sang it was usually in a baby-ish voice. Though the crowd may not have danced with the same fervour as in the first set, they were equally entranced with the spectacle on stage.

Remember The Time

In gentrifying Toronto, live venues disappear regularly. And sometimes old ones get re-purposed/discovered by the younger generation. One such is the Owl's Club in a run-down legion hall near Bloor and Dovercourt. So when I was there on Saturday for the final show of Entire Cities, there was a nostalgic vibe coming from both the venue and the audience, mostly 30-somethings who were transitioning out of all-night parties into adult responsibilities. As the evening progressed, there were a lot of people running into friends they haven't seen in years.

It was an eclectic show because the lead singer of Entire Cities just wanted to hear some good stuff and meet up with some old buddies. So the evening started with Kashka. Her duo set of electro pop kept the chill vibe for the early crowd. Then Val Heimpel provided some topical stand-up comedy about the travails of work and dating in the 21st century.

Things got loud with LILIM, a feminist metal band. The venue wasn't really equipped for their volume so it was an unfortunately muddy set. With less clarity to their provocative lyrics, it didn't sound as innovative. Meghan Harrison then entertained the crowd with her rambling poetry about nerdy pursuits like Weezer and High Fidelity.

Melody McKiver combined violin looping and First Nations concerns and imagery in a powerful set. Nich Worby came out of semi-retirement (and a Thanksgiving dinner stupor) for a few indie tunes. Finally, Entire Cities played their final set. It was catchy pop in the Arcade Fires mold, and obviously meant a lot to the audience. As they sang along, the songs likely brought back collective memories of being young and new to Toronto. It was good enough music to make me wished I had heard of them when they started 12 years ago.

I Also Like Grapefruit

Since her participation on Geneviève Marentette's show at Gallery 345, I've been looking forward to trumpetist's Marie Goudy album release. On Wednesday, I headed down to venerable The Rex for the Bitter Suite.

To bring her 4-movement jazz suite to life, Goudy and her 12-tet were crammed onto the tiny stage. Such large configuration usually means bombastic big-band music. But tonight, it was subtle and complex lyricism both in orchestration and verse (provided by singer Jocelyn Barth). Goudy traced the progression of a romantic relationship through the metaphor of 4 seasons. There were still plenty of Jazz solos, sometimes too much for my taste. But overall, I loved the compositional foundation of this suite which for me felt richer and more fully realized than the typical chart/songbook style of most Jazz sets.

Slurp Slap

Quite a few condos are going up in the Sheppard and Consumer Road area. But further in on Consumer, a curious 4 stories structure has been completed. But neither residential dwellings nor office space, it was simply a 3-level parking garage. The only upside is that the ground floor was occupied by 7-8 restaurants.

One of the biggest was Omni Noodle. Once inside, you can see through the glass partition into the kitchen that the noodles are freshly spun out from dough as orders come in. As expected, the menu was dominated by either fried noodle dishes or noodle soups. You can customize your noodle by selecting the type (such as wheat), style (flat, round, etc.), and thickness. On Wednesday for lunch, I chose the vegetarian soup ($10.99) and a thick, round noodle. The noodle was good but too thick. Next time, I would probably choose a thinner style or thickness. My main issue was that the soup was a sad bowl with a few greens. Compared to the mix of pine nuts, corn, mushrooms and more from Landing Noodle near Spadina, this soup was barely worth eating.

A Place on Earth

On Saturday I was at The Tranzac for a low-key show. The smaller front room often has a DIY aesthetic, not least because like tonight there wasn't even anybody doing the sound mix. It was up to each performer to fix it for themselves. Also, it was usually friends and family who attend these cozy sets.

Kelly McMichael did a solo set of her Renders material including several new songs with feminist themes (She's Bad Ass). She was a deft hand on the guitar, but I liked that she incorporated looping, triggered samples, and some backing tracks to fill out the sound. McMichael has quite an ear for 80s-inspired pop (and matching Belinda Carlisle vocals) but given her time with defunct synth-pop outfit Rouge, it wasn't a complete surprise.

I haven't heard much from Claire Whitehead since she stopped playing with parodic band Blimp Rock. This guitarist has decided to try her hand at songwriting and formed Carew. Her new music reminded me of The Weather Station in its observation of everyday life. But the lyrics were more conventional, especially the rhymes.

Vintage

On Thursday, after scarfing down some noodle soup at Landing Noodle, I headed one block over to The Supermarket for an early show. In conjunction with the 30th anniversary of Love Junk, and a double vinyl release, The Pursuit of Happiness was doing a special show where they played the full album.

The crowd was an eclectic mix. Most were older and from that era; some obviously came straight from work in their business suits. But there were a smattering of young people barely in their twenties hanging out at the back. TPOH went through every song with energy and gusto and the audience sang along to every verse. Frontman Moe Berg pointed out a couple of extra-special moments: playing Tree of Knowledge for the first time in 28 years, the guitar tech was the same friend that came with them on their original Love Junk tour.

Go Fun Me

On Friday, I was at Canasian's Kickstart Festival where four works in progress were being presented. Two of them worked for me while two did not appeal. The first miss was an improvised piece between two dancers. As they string together a series of movements in response to each other, they also asked personal questions. As one of the dancer admitted near the end, he was "zoning out" tonight. So it might have been engaging for the participants as an exercise but dull for the audience. The second miss was an interrogation into the Asian woman experience especially as a fetishized image in the West. It was a maudlin and cliché performance art that included Bowie's China Girl.

Yume-Iro (Dream Colour) was more enjoyable. A fusion of taiko and martial arts movement, as well as well as rhythmic chants and modern dance, it presented an interesting exploration of Japanese themes in a contemporary setting. Know the Rules, Win The Game was also based on Japanese history, that of the Taikomochi (or court jester). A humorous look at the tension between artists and arts patron (who fund their work), it was both physical and droll.

Full Metal Alchemist

Thursday at Lee's Palace was my first real metal show even if Yama Tanka can be loud. The full crowd was definitely different than the usual indie scene: more black outfit, longer hair, and harder drinking. Opener Astronoid from Boston was what I expected this genre to sound like: furious guitars and double-pedaled drums. But instead of the growling vocals, these were high falsetto with slightly emo lyrics.

But I was blown away by head-liner Zeal & Ardor. Originally a one-man project to combine metal with African-American spirituals, Gospel, and Blues, as a live band they were outstanding. What made the set so compelling was that although it was within the genre, there was a variety of techniques, dynamics, styles of singing. Some were straight-up head-bangers, others for moshing, or showing off guitar riffs. There were numbers that were contemplative and atmospheric. Manuel Gagneux has put together a sound that was unique and exciting.

Priestesses Of Power

Monday night at the Danforth Music Hall, two assured musicians played forceful sets. Thao Nguyen (Thao And The Get Down Stay Down) was a monster on guitar (and banjo and steel guitar) during her solo set. Accompanying her manic riffs and chunky chords was a voice that raged all night on numbers like Meticulous Bird and Holy Roller.

In contrast, Neko Case gave us a pleasurable cloud of alt-country, folkish, and pop music, full of intricate layers of sounds. That is, until you pay attention to the biting lyrics of songs both old and new like Winnie, Hell-On, and Margaret vs. Pauline. As the evening wore on, she added more and more rock from her stint in other bands. Being an honorary Canadian, Case had several songs about Canada starting with out in the East: Calling Card and Oracles of the Maritimes. Appropriately enough then, during her encore in which Case told the adoring crowd Toronto had a special place in her heart, she played both Loretta (recorded live at The Matador) and This Tornado Loves You (which is set in this city).

Bite Me

Some gentrified shops aren't really targeted for me. So I walked by the combination coffee shop/clothing store near Dundas St. and Dovercourt for years without venturing in. Then it became a vegetarian take-out place called The Goods (which has since moved to Roncesvalles). Now it has turned into Steambox Dumplings.

On Saturday, I finally stepped inside for a quick sample. At 3 for $5, these grilled dumplings were more expensive (and smaller) than the ones in the various dumpling houses. The shrimp was average but the vegan Yam Chipotle was different and interesting. This place wouldn't be able to compete on price or the usual ingredients. But if you were vegetarian or wanted healthier ingredients, this is a good choice.

The frozen box ($15) or the main dish with six dumplings plus a side ($17) while still expensive may be a better deal.

Mountain Goddess

Venus Fest is a relatively new musical festival in Toronto whose aim is to highlight female performers. I have been to a few affiliated events but this week-end was the festival proper running for 3 nights. With other commitments, I was only able to attend the early part of Thursday night at The Mod Club.

It was odd to see this music/dance club transformed, at least partially, into something more DIY. There were streamers and other decorations strewned throughout the venue, shimmering projections played on the stage, and a large mural painting against one wall. Loom was the first act this evening. This project by Brooke Manning, poet and owner of eclectic shop The Likely General, hasn't played live in a while. Tonight, it was a set of quiet harmonies as Manning was accompanied by Carmen Elle (Diana), Leah Fay (July Talk), and Kyla Charter.

Over the years, I keep missing sets by the next singer. So I finally got to see Elle Barbara. I don't know if her sound has changed over time. But tonight it was combination Bowie, wild rhythm, R'n'B vocals, and chanting. This was music to dance to but with the early time slot and the laid-back crowd, there were only a few takers.

Pew Pew Pew

The Kensington Jazz Festival is a 3-year-old festival focusing on local musicians. Though most of the acts are typically smaller bands, I was down in the Market for a big-band show on Saturday. A larger stage was set up in the back-yard of the building housing El Gordo Empanada. The last time I was back here a giant art installation of a dragon made up of junk metal dominated the space.

This time it was a packed venue full of first-time jazz attendees. Why the cross-over appeal? A local indie video-game company recently scored a hit with Cuphead: a gun-and-run game drawn in 30s cartoon style and featuring an original score of big-band jazz number. So at least half the audience were gamers excited to hear the actual musicians. It was exciting for them too; outside of the recording studio, this was their first (and likely only) live show. I have heard a few snippets online but this was my first exposure. Overall, it was a good but exhausting set. The majority of the numbers were uptempo big-band swing. If I may use a racy analogy: it was all climax and very little foreplay. One highlight was Alana Bridgewater as Mr. King Dice.

Back To Life

I have seen Janelle Monique and Maya Killtron sing at various events. But I wasn't aware that they used to be in a 90s R'n'B cover band called Hi-Topp. So on Friday, I headed over to Remix Lounge on Dundas St. W for a reunion show.

I was disappointed that not too many people wore 90s outfit. My early Nadal look complete with neon-bright spandex top was not too daring but I had to visit a thrift shop to find clothes that bright and ugly. It was a fairly large band complete with horn section. Unfortunately, both the sound system and the dude at the board weren't great tonight. There also wasn't too many people on the dance floor for the first set except for 1 enthusiastic older man. I applaud his care-free attitude even if his moves were better in a mosh pit.

I didn't stay for the second set because although I enjoyed the first one, despite the subpar mix, it was for those who were into the scene back then. And I was expecting the sort of mainstream "best 40 songs from the 90s" that a square like me might recognize.

Little Vittles

I have noticed a small restaurant in the new building at Queen St. W and Gladstone. On Tuesday, after a yoga class, I dropped by Lao-Thai for dinner. It was a tiny spot with only room for 4 tables. This might explain why it was mostly people dropping in to pick up their orders. And apparently busy too, because my first choice of crispy coconut rice salad (Nam Kao) was already sold out at 7:30 pm.

I opted for the Papaya salad ($8.50) and Chicken Laab ($12.50). The dishes were home cooking. That is, there wasn't much flair in the presentation, the flavours were good but not exceptional, and the portion size was generous. If I lived in the area, I'd probably make it a regular take-out spot.

Update: I came back for the Nam Kao. It was an interesting but disappointing dish. After talking to some Laotian friends, it seemed that perhaps the coconut flavour was too strong in this version. After a couple of bites, it was like eating a plate of coconut macaroons.

French Toasty

A little french café and bakery, Les Moulins La Fayette, has opened at Queen St. W at Tecumseh near Bathurst. Looking through the window, we can see the usual baguettes and croissants. On Sunday, I dropped by for a quick meal after a yoga class.

There are two sets of glass display on either side of the cashier. The first had various savoury goods including croque-monsieurs. First time visitors may miss that past the cash register was also large selection of sweets such as tarts and mini-cakes. All were made on-site, according to the staff. Though everyone spoke English as expected in Toronto, a quick listen will confirmed that all employees were bilingual Francophones.

Today I opted for the veggie sandwich ($8). There wasn't any free tables in the narrow room nor in the peek-a-boo patio in the back, so I grabbed a seat by the wall. It was a tasty lunch, rich and creamy. Overall, the food and ambiance here were great.

Update: I came back to get some desserts for a trip to Ottawa and they were a big hit. But I will be taking a break from this bakery. The last time I was here I found a broken piece of plastic in my food. I pointed out this problem to the workers, merely as a courtesy, since I did not accidentally bite or swallow the fragment. But there was no inquiry if this had caused me any issue, nor any offer of reimbursement. This was poor customer service, but this café is a good spot. So I'm splitting the difference and doing a 1-year boycott.

Island Breeze

On Thursday, I attended an album release party for The Tiki Collective. Their new CD entitled Muse contained both Jazz standards and Jazz versions of pop songs. I didn't love this style of easy-listening arrangements. From the opening number, I was picturing the opening theme to the classic video game series Monkey Island.

Two things redeemed the evening for me. First, I had no idea a venue like the Berkeley Field House existed in Toronto. I have passed by it numerous times and have always thought it was a club given the gated fencing. It turns out behind the anonymous façade was an airy, rustic spot with a tiny stream, tree house and pretty wedding venue.

Secondly, Muse was meant as a spotlight for the female singers in the city. Not all of them were here tonight, but they were all wonderful performers: Lily Frost, Jocelyn Barth, Genevieve Marentette, Melissa Lauren, Mingjia Chen, Tyra Jutai, Paget Biscayne, Avery Raquel, Irene Torres, and Denielle Bassels.

Thai Right

A few years back, there was a burst of new restaurants that offered more authentic Thai dishes. Or at least variety beyond pad thai and green curry. It's been mostly ramen joints lately. As I was walking through Little Italy on Tuesday, I noticed a new Thai place was having a soft open. Imm (full in Thai) was decorated in the contemporary style. The dishes were similarly prettily prepared. Obviously the owner is trying to position this place as, if not upscale, then not the typical "cheap ethnic food" joint. The dishes had strong, vibrant flavour. Both the crispy, papaya salad ($10.95) and the Tom Yum Pad Thai with shrimp ($16.95) tasted less Westernized than some of the ostensibly authentic places around the city. This is a great addition to the neighbourhood.

Lunch Munch

I was wandering around looking for a lunch spot and passed by the shops housed in metal shipping crates at Bathurst and Dundas. It's a hard business and I wasn't too surprised that only a few survived since my visit a few years ago. But hope springs eternal and there were some new contenders.

Looking over my options, I settled on Delightfully Delicious. Since Mother Home closed, I haven't had food from Myanmar. Oddly enough, the proprietress also knew of that restaurant, despite being from The Maritimes until recently. I chose the southern noodle dish ($7.99) and an avocado smoothie ($3.99). It was a good meal but because of the limited cooking space wasn't quite as complex in flavour as Mother Home. The smoothie was Vietnamese-style with condensed milk and perfect for a hot day. They also do catering and I'd bet you can have a greater variety of choices.

Not a Love Song

I was at The Burdock on Friday to hear two young singer/songwriters. First up was Belinda Corpuz. Given her background as an actress, a recent role was in the play Prairie Nurse, there was a hint of the theatre in her prose lyrics. She also had a big voice that was judiciously employed. Allison Lynch, a jazz singer from Calgary, was doing a mini-tour of Ontario. Her local band included an older cousin on upright bass and Alice Walker on piano. She had a warm voice and played some mellow chords. Her scatting was fun but will benefit from some maturity. Most interesting was that outside various covers, including several Brazilian songs, she wrote a number of original songs. It's rare to hear a jazz singer who does more than the usual standards.

Soothe Sayer

On Monday, I was at The Drake Underground for an early show. Kate Goldman opened the evening. Her solo set was the standard mix of pop and americana. I was expecting a larger crowd for Olivia Chaney than her previous times at The Dakota since she was exposed to more mainstream audience through Offa Rex, her collaboration with The Decemberists. But those of us who were there was treated to a warm, quiet set of contemplative English folk. To be fair, most of the songs from her new album were closer to pop. Alternating between guitar and piano, she led us through run-down cottages and wind-swept hills. Her violinist added some atmospheric notes or quiet singing. As she wryly noted, despite her label's protest, she included another Henry Purcell piece on her new album. This time, it was her plaintive arrangement of O Solitude.

Chaney finally brought some merchandise to her show. Because she was touring both Canada and the U.S., and due to restrictive Canadian border rules, her team did not actually bring any merchandise. It was a local distributor who provided her latest CD for tonight. As such, I wasn't able to buy any items from her back catalogue.

A Tale of One City

On a holiday Monday, I was at both the North and South ends of Toronto. Since the line 1 subway has been extended further north, it was finally convenient for me to attend the Rogers Cup tennis tournament. I hopped off at the Pioneer Village stop and made my way to the tournament grounds. Outside of the main stadium, they had set up several courts and also had plenty of other activities. As this was only the early goings (of a lower-tiered tournament), I watched mostly low-ranked participants duking it out. Professional athletes are amazing. I could barely follow any of the shots. And to think that although these players could demolish any amateur, they would also be equally helpless against a top ten opponent.

With the outrageously pricey food and darkening clouds, I decided to leave early and head downtown. Luckily, after I made it to the station, the sky opened up in a torrential downpour. Line 1 took me all the way south to "condo central", all clustered near the gardiner express and the various sporting venues. These are dead zones because at ground level, there are hardly any business. I was meeting up with some out-of-towners at Mi-Ne Sushi. The owners did a good job making this spot seemed organic and cozy though they are housed in a condo with chain restaurants. The food presentation was also nice but unfortunately, this was strictly average sushi.

Je T'aime

As I was walking along Dundas St. W between Ossington and Dufferin on a bright summer day, the gentrification of the neighbourhood continued apace. One such place, with retractable windows that opened wide onto a bright open space, brimming with smartly dressed people, looked intriguing. So on Sunday, I returned to check it out.

It turns out Paris Paris was a wine bar, for those who don't want a beer or another ho-hum choice from the LCBO, but marked up. Looking over the small food menu, I settled on a dish of white beans, tuna, and onions ($12) and a glass of Portuguese red ($13), in a nod to the neighbourhood's former identity. The food was all right but it's the ambience of Paris Paris that was the draw. Exhibit one: even as a non-drinker, I opted for another glass.

I can see the popularity of this place. Whether as a hang-out or especially a date venue, there will be people in the future for whom Paris Paris will invoke fond memories of being "our place".

Carnaval

Despite living in Toronto, I haven't been to many Caribana parades. My first time almost 20 years ago was a sodden mess in the rain. I even skipped out last year's 50th anniversary because of a thunderstorm. This Saturday, I was determined to catch a bit of the festival.

Thinking that the main entrance at Dufferin gate would be packed, I made my way further west to the Jameson bridge down onto Lakeshore. That was a good move. Unfortunately, the parade itself does not start that far. Nevertheless, the parks and street all along the lake was filled with people pic-nicking and enjoying the sun and heat. Eventually, I made it near the grounds of Exhibition place and finally caught sight of the parade. Bright, feathery costumes; fantastical contraptions that needed wheels to be pulled by the wearers; joyful floats; and lots of mobile platforms with huge speaker set-up playing upbeat music kept the crowd jumping and excited.

Afterward, I headed back to Jameson, made my way to Ali's Roti, and got some doubles and plenty of water to quench my thirst. I was thankful for the copious sunscreen as well. Toronto felt like the tropics today.

Grar Grar

I was coming from another show on Tuesday so I missed Mother Tongues' set at The Baby G. I did have an interesting conversation with a taxi driver about the business in the age of Uber. Luckily, one of the two bands I wanted to see had just started their set. NYC-based T-Rexstasy plays weird noise-pop, combining exuberance and hooks with performance art and noisy feedback. The sound system at this little venue wasn't great for their sound, but most of the fun still came through.

I first saw Peteborough's The Lonely Parade opened at a Sheezer show. As new graduates of Girls Rock Camp, they had a DIY garage band feel back then. Since then, I've seen them developed more of a rock edge. They needed to borrow a guitar amp because theirs died after a sound check. It probably gave up the ghost as this was the final stop of their tour and maybe due to Lonely Parade's style. This was loud, heavy, angry rock with burst of skittering hooks on songs like Bored. They need more fans bashing each other in a mosh-pit or at least flailing around.

Call To Me

I don't usually go see well-known artists so Wednesday night at The Sony Centre was a rare event for me. There was no opener for St. Vincent except for a DJ. This seemed like a lost opportunity for some local band to get exposure to a bigger audience.

Though it was a seated venue, everybody stood up for the main set. Luckily, it was a slanted floor so my sight wasn't blocked. The stage set-up was simple: 3 raised platforms for St. Vincent, her bassist/synth, and drummer. The light show was more complex and perfectly choreographed to the songs. She didn't venture from her platform until near the end of her set even when doing solos. The numbers from her latest album were more pop so Los Ageless and Pills played well. But fans who wanted some edgier stuff also got noise/rock from her older material. Before Annie Clark played New York, she thrilled the crowd by trying to ad-lib a few lines about Toronto.

I couldn't stay for the entire encore because I had another show across town at the much smaller Baby G.

Woo Woo

On Friday, I went to Lee's Palace to check out Darlene Shrugg, a rock band with members from U.S. Girls, Ice Cream. First up was NOBRO from Montreal. This all-female trio played a fast set of punk approaching heavy metal levels of noise. What stood out from the usual punk was their lyrics and their highly rhythmic songs, helped by actual bongos. It was very entertaining.

In contrast, Biblical provided atmospheric moody hard rock. I think their entire set comprised of only a few songs. As we waited for the headliner to begin, a fire alarm went off. Given the late start, I decided to head home since it would probably be approaching 1:30 am after the firefighters finish their inspection.

Double Double

Like other neighbourhoods, new businesses also pop up in Chinatown. They still tend to be Chinese restaurants, even if nowadays they come from other regions instead of just Hong-Kong. But a small Malaysian coffee shop recently opened at Dundas and Spadina. Early Saturday morning, I decided to check out Papparoti.

Being a non-coffee drinker, I skipped their drinks menu. But they certainly have the usual varieties including espresso. Their selection of pastry treats are not normally found in other café, even the hipper non-chain ones. I settled on a Malaysian coffee bun with some labneh and jam ($8). It had a fragrant flavour with a slight hint of coffee. As such, it paired better with the creamy labneh; the sweet jam overpowered that delicacy. It was an interesting baked good, but overall it was a bit pricey for a couple of bites.

Update: It seems that this location has closed. There is still one in the GTA at Square One. I'm not surprised because people still come to Chinatown mostly for cheap eats and not for a trendy (and pricier) café experience. Call it the curse of the ethnic food ghetto. They should have opened just 2 blocks over in Kensington Market.

Bright On Beach

The Beaches in the East End is its own area, and often doesn't even feel like part of Toronto. Likewise, I don't venture out that way. So when Retrocity, the 80s a capella group, puts on a free show with the Beaches Jazz Festival every year, I also use it as an opportunity to see what has changed in that part of town.

It looked like rain but the clouds cleared for Retrocity's set. As usual, they brought multi-part harmonies to numbers like Easy Lover and Say Say Say. Sometimes they concentrate on certain themes. Today it was jazz arrangements of tunes and a smattering of Canadian content (Black Station White Station, Go For Soda). After their set, 3 svelte ladies in creamy white dresses, appropriately named The Willows, took the stage with 40s-style music that invoked sock hops and soda shops.

The Beaches, of course, don't change. But Queen St. W running from Eaton Centre has undergone lots. The stretch between Yonge and Jarvis is still run down with a few dive bars and shops hanging on. Condos are filling in the landscape up to the bridge over the Don Valley. There were still old buildings on the other side all the way to Kingston Road, but the businesses in them show that gentrification is almost 100% complete in every neighbourhood.

Bay & King

I don't work in the corporate district downtown so it was interesting to walk among all the suits on Wednesday. I was at First Canadian Place for a free lunch-time concert by Milk & Bone from Montréal. Scattered throughout the crowd was a few young faces that were obviously fans, but most of the audience were curious business types. Well, everybody was young once, is still young-ish, or think that they are. So I think the duo's synth-pop numbers like Deception Bay and Pressure went over quite well. Perhaps not enough to get this staid crowd dancing despite their exhortation, but from the number of people around the merch table after the show, enough to win new fans.

Breakfast and Tiff

On Wednesday, I was at The Phoenix Concert Theatre for Japanese Breakfast. First up was Mothers. They had two round projections that played looping videos during their set. It was a combination of soft, hypnotic pop and (sloppy) math rock. I couldn't get into their music but there were some people around me in the packed venue who were obviously fans.

Michelle Zauner probably remembers Toronto quite well. The Phoenix (cap. 800) is likely her biggest sold-out venue on this head-lining tour. It was upgraded from the original Lee's Palace after tickets quickly sell out. Her previous visits were at smaller bars including The Horseshoe and The Garrison. And her 3-day residence at the defunct Silver Dollar made a big impression on her, if not in a good way. She continued to throw shade, equal parts affection and exasperation, about that experience. This time we learn that Vlad, the sound engineer, threw a chair at promoter Dan Burke.

Japanese Breakfast plays catchy indie pop, with hooks to keep you bopping but introspective lyrics to satisfy the disaffected outsider aesthetic. Zauner has a strained singing style, as if she's always singing with a constricted throat. In a self-described "Animorph" dress, she is much more assured now and often ditched her guitar to roam the stage. The audience loved both old hits (Everybody Wants to Love You) and newer tunes (Boyish). Like her former tour-mate Mitski, Zauner is poised to play even bigger venues next time around.

Creature of the Sea

I was at The Horseshoe on Thursday night for a night of eclectic performances. First up was all-female band Nikki Fierce. I saw them a few years ago at the defunct Silver Dollar. Their sound has matured from a diy garage band to a psychedelic pop. It was a sexy and power blast of a set.

Johnny de courcy was a total 180 turn-around. Essentially presenting a musical sketch complete with props (a bench and streetlamp), it was about a down-and-out former bus driver in San Francisco. People at first reacted nervously but eventually warmed to his set. I actually enjoyed it quite a bit, more musical theatre should be shown this way. There was an energy to the immediacy of a live crowd in a bar that is lacking in the usual seated theatre set-up.

Though there was still a dedicated audience for Montreal's Anemone, the Horseshoe had thinned out for their set. I first saw them opening for Men I Trust a few weeks back. Those who remained was treated to a high-energy dance set that was a cross between a funk/disco jam band and breathy French pop from the 60s.

Memories of Vancouver

Friday evening, I was at the free Roy Thomson Hall Patio music series. Oh Susanna has put out 7  albums but tonight her set was taken mostly from A Girl In Teen City. All these songs were about being a teenager growing up in Vancouver. So from a particular Chinese restaurant to a music venue to a hang-out spot, there was an abundance of details. Even her other numbers had a specificity in her lyrics that are often lacking in most songs. This extended to covers including Sleepy Little Sailor. As such, there was a strong story-telling vibe to the music even though it was more country than folk.

Burning Bright

The Roy Thomson Hall patio hosts a series of free concerts throughout the summer. I haven't gone to many this year but on Thursday, I saw Montreal singer Kandle. She had disappeared for a while. Apparently, there were some issues with her former record label. Whether or not that informed her music, the songs from her upcoming album had an edge with sharp and biting lyrics. The straight-up rock-and-roll numbers came from her older material.

Kandle has a more than passing resemblance to superstar Taylor Swift. So watching her belt out songs of rage and despair sometimes feel uncanny, like you've stepped into an alternate universe. There were fans and friends in the crowd. But a lot of the audience had just stopped by after work, and more than a few seemed astonished by her performance.

Mad as Heck

On Tuesday, I was at the Danforth Music Hall to see some women rage. First up was Vagabon. I have seen this small powerhouse musician several times. I felt a little disappointed tonight because she has left behind some of her garage/punk sound for quieter introspection. Nevertheless, she still packed a good punch.

For this tour, Courtney Barnett has decided to decorate her stage with a series of logos that  was a cross between Soviet iconography and the Mercedes brand. Her music is associated with a loose, psychedelic rock and densely verbose lyrics. There was plenty of that especially on her older songs. But the new tunes tapped into a simmering anger, especially at the stunted man-child. And if the lyrics of Nameless, Faceless weren't clear enough, her roar throughout I'm Not Your Mother, I'm Not Your Bitch made the rage abundantly clear. It was a great show from an artist who is growing ever more assured.

Hot Tamales

I was really into street festivals way back when but I don't attend them as often. Recently, I realized I have never been to Salsa on St. Clair despite that it was 14 years old. I used to practice at a yoga studio in the area and even saw vendors setting up as I was leaving my morning class. So on Saturday, I made my way to mid-town to check it out. This stretch from Oakwood to Christie with its yuppie businesses might seemed an odd fit. But then you noticed that there are more latin and Mexican restaurants than expected.

The street was closed off with a vibrant, festive atmosphere everywhere, helped by the beautiful sunshine and warmth. There were a large number of vendors selling latin-american food and plenty of dance studios were showcasing latin dances or inviting passer-bys to join in. Unsurprisingly, many people knew how to shake a hip. After a quick meal of pulled pork ($10) and some free Takis chips sample, the highlight for me was the parade led by a group of women in full Rio Carnival costumes. How they can walk and dance in those teetering heels is beyond me.

Clean It Up

On Friday, at The Drake Underground, there was literally no other paying customer except myself. I have never been to a show where a band played to an empty venue; one of the travails of being a small, out-of-town band. But kudos to Before The Flood for gamely doing their set of thumping folk with gusto.

After the opening act, there was finally a crowd but still less than 50 people for Sweet Crude from New Orleans. This was a shame because they had the highest energy, most danceable set I saw this year. Their songs were a combination of English and French Creole, with powerful vocal exchanges between the two leads, and vibrant poly-rhythmic percussion. It seems every member played a main instrument plus some percussive item. There was even dance choreography. The band noted the irony of having Before The Flood opened for them. Being from New Orleans, everyone divides history into before the flood and after the flood with regards to hurricane Katrina.

Get On My Lawn

On Wednesday, I went to a free concert at Lynn Park sponsored by the local BIA. I don't recall walking through this stretch of Danforth but it looked like gentrification has been going on here, too. Outside of hold-outs like Quattro Amici Café, it was mostly trendy shops and restaurants. So it was no surprised that the full crowd sitting on the grass at the park was well-established middle-aged couples with their young children.

I missed the opening act but head-liner The Pursuit of Happiness was setting up on stage. They went through all their hits. It was amusing to watch some toddlers rocking out as much as their parents. The teens seemed more bemused by these relic songs. Frontman Moe Berg joked that a show this early was better at his age and it also allowed his daughter to see him perform.

Loopy

Sunday night at the Tranzac, 2 performers played some interesting sets. Melissa Boraski of Eiyn Sof started with an elegiac piece, full of minor chord progressions, that sounded more like a Chopin piece than a pop number. She then followed with some lyrical folk songs and finally ended her set with a looped piece where she layered, not the typical harmonized vocals, but breaths, grunts, and whistles. All in all, quite an atmospheric set.

The indolent, slow vibe continued with Isla Craig's new album The Becoming. Back by a full band for most of the night, she ran through songs with a repeating, Ethiopian-esque, groove. This was an album probably 3 or more years in the making. Although Craig typically in the soprano range, I preferred her more honeyed timbre when she moved into her lower register. The Tranzac sound system was better tonight for conveying all the nuances of her music.

Hey, Hey, You, You

On Saturday, I was at The Horseshoe for a benefit concert. To a sold-out and predominantly female crowd, a number of Toronto bands did two sets of Avril Lavigne's songs. The whole thing started from a practice session of two members of The Beaches. For me, the first set was more cohesive. Members of the Beaches and The Elwins took turns as the house band, after doing their own covers like Boyfriend. A plethora of guests came on stage including Taylor Knox, Leah Fay (July Talk), and Nefe for their own rendition from the Lavigne songbook. The audience was ecstatic and sang and danced along deliriously.

The second set  continued to have more guests including fresh-from-a-wedding Jason Couse (The Darcys) and Brave Shores. But the mood was definitely more up and down, mostly because full bands started setting up their own equipment. No matter how fast they tried, the set-up and tear-down for a single song killed the evening's energy for me. After the third such attempt, I decided to call it a night. On a happier note, it was also a special evening for the littlest Beach, Kylie Miller turned 21 at midnight with the whole bar singing Happy Birthday to her.

A Relic

Heading home early from work, I decided to get off at the subway stop at North York Centre for lunch. I vaguely recalled from years ago that there was a cluster of Korean eateries in the area. Either it was a different stop or my memory is faulty, but there was none in sight. But most likely it's the decade-long construction boom in Toronto that has changed almost every neighbourhood, even this on-the-edge-of-suburbia location.

Confronted by towering offices, shops, and chain restaurants, I wandered around until I saw an old building nestled between the new high-rises. There were a few restaurants on the ground floor and I walked into Pho 88. The dusty exterior gave way to a more upscale looking interior. This place probably went through the same "minimal wood aesthetic" upgrade (and prettier menu presentation) a lot of the Asian spots did about a decade ago. The lunch crowd was winding down. Unlike other Vietnamese pho places, you actually have a waiter taking down your order.

I got a medium pho special ($10). You get a lot of meat in your bowl for the price. The noodles were a thinner style than other places. One negative was that the broth wasn't as fragrant and subtle. I wouldn't come here from elsewhere to eat. But with the reasonable food and prompt service, I can see why it is popular with the office workers in the area.

Having Fun Being Young

I liked Luna Li's short set at Luanda House a while back. So on Friday, I went to The Baby G to see what a headliner show would be like. If the other evening had a first time in da club feel, tonight was full-on hipster. That is to say, young people enjoying themselves with low budget DIYs.

The small venue had stations set up along the walls. You can get shots with your besties at the photo booth, write and post a haiku, or apply glitter make-up. There were 3 professional-looking (in the home-gear sense) videographers wandering around all night filming.

Amelia Made (Mum's Kitchen) started the evening with a synth-drenched Clair De Lune. Her music was a bit off kilter and the electronic arpeggios reminded me of video game music. She sounded like early Bjork with the hitch in her voice.

For the first few songs, Hannah Bussiere (Luna Li) asked people to sit down to fully enjoy the spectacle. Draped in a flowy, silver costume, she played a few of songs on the harp while two dancers did modern dance choreography in the tight space. Then we all got up for the rock part as she swapped harp for electric guitar and the full band launched into quite a rock show. There was definitely some ethereal Maylee Todd 2.0 vibe. The band even has Charise Aragoza, one of Todd's former backup dancers, on synth and guitar. But with Bussiere's facility in spinning out guitar riffs, and a muscular drum and bass combo, there was more of a rock feel to the sound.

Ice Is Nice

On Saturday, after checking out some books at Bakka Phoenix on Harbord, I noticed that there was a new restaurant across the street. It turns out that a Hong Kong franchise, Dessert Kitchen, has set up shop. Perusing several pages of glossy desserts, I decided to try the Mid-summer Festival Sundae ($7.99). Unlike a traditional sundae, though it does come with vanilla soft serve and mango ice cream, this was a very typical Asian dessert that emphasized a variety of flavour and texture. So it was I ate my way through mini rice balls, seaweed balls, yuzu kanten (a jello-like substance made from algae), and tiny bits of mangoes. It was a nice, interesting way to cool down from the noon heat.

Downtown Sound

This year, NXNE has returned to the main part of Toronto instead of out in the Portlands. So their free Main Stage was once again located right at Dundas Square. I went on Friday evening to check out a few acts.

It was a poor set-up. Dundas Square itself has a raised platform that is often used as a stage for shows and concerts. When I heard that NXNE has closed off Yonge St. instead, I was expecting the stage to be on the street itself, allowing a much larger crowd to grow along the road.  But they built it abutting Eaton Centre, and fenced off the street and sidewalk for security personnel. This made the stage too far for the performers to interact with the audience. And the latter was still limited to the Square itself. In fact, there was actually less room because NXNE had carved up the Square for a media tent and bar patio.

Formerly from Edmonton, rapper Cadence Weapon had a fast flow. He also liked applying effects to his vocal. His rap was the usual mix; some were about social issues, others about drinking and living large. Being a good Canadian boy, he had a rap about Connor McDavid which was brave of him to perform in enemy territory.

U.S. Girls was up next. It was an odd choice because tonight's line-up was dominated by R'n'B and Rap acts. They went through their well-rehearsed set/performance piece with most songs drawn from the latest album. It wasn't a great fit for the crowd who was expecting more mainstream music. There were some amusing spontaneous moments when singer Meghan Remy got a security guard to be involved with her show.

A Little Bit

As I get older, multiple late nights at a music festival don't appeal much. But I did make it out Monday night to The Dakota Tavern. NXNE has created curator series where a musician book bands that hold some significance for them. Tonight, Terra Lightfoot has chosen 4 women-fronted bands in the country/folk mold. First up was Colleen Brown with a duo set of Major Love songs. Next up was trio The O'Pears. I always enjoy their beautiful harmonies. I couldn't stay for Charlotte Cornfield or Dinah Nash. It would have been nice to hear them but the sets were running late.

Rad Rock Vs Dad Rock

On June 9th, I headed over to Roncesvalles for some shopping and also check out Roncy Rocks. It turns out this wasn't a street festival but a BIA-sponsored event. So with the various shops setting up stalls as well as a number of local artisans, the sidewalk was quite congested. After a fruitless search for a hand-made yoga bag, I was about to head home when I saw that the stage set up on a side street was hosting a few bands.

I stayed for Luna Li. I liked her solo set a few weeks ago at Luanda House. With a full set-up today, I was quite impressed with how much of a rock vibe they had going. This young band could be going places.  I might check out their release show next Friday. I was also surprised to see Jessica Stuart. This afternoon, she was here supporting Alex St. Kitts. This singer/bassist had an infectious personality and some funky songs. But his lyrics weren't quite at the level of his technical chops.

Movement In Stillness

I was at The Tranzac for a mid-week album release. Opener Alyson McNamara did a soft folk set with some interesting picking and chords. She mostly presented new material rom her upcoming sophomore album.

Then headliner Emilie Mover did a wonderful set where she played her new album Night Owl straight through. She joked that those of us in attendance now know how the album should be played. Because of a misprinting, the vinyl has no side A or B indication. A nice bonus, although you can also go on, for example, Spotify to see the correct track listing. For the encore, she played an unreleased song about New York, a tune Mover wrote after Night Owl to prove that she can still write.

Mover gave the best merch pitch ever. If you buy her album, you get to pet her dog Stevie Wonder. I didn't need that incentive to support this great artist, but I surely took advantage of the offer for some doggie scritches.

Giddy Up

Since electro-pop outfit Sidney York disbanded, 2 of them have resurfaced in an all-women country act called Nice Horse. They are mostly based out of Alberta and only play a few shows in the rest of Canada. So when I heard they were doing a show at The Cameron House on Wednesday, I skedaddled on down. The curious pay-what-you-can crowd tonight wasn't a great fit for the hootenanny set. But there was one extremely excited fan, perhaps a little too much into their music. These ladies combined fun country music (Pony Up, Jim Jack Johnnie and José) with feminist themes (Mansplaining). Nice Horse is getting more traction than Sidney York, so I hope this will be the big break for them.

Strike a Pose

On Saturday, I was at an afternoon show of The National Ballet's new recital entitled Frame By Frame. This show is based on the life and work of NFB film-maker Norman McLaren. He was well-known for shorts which experimented with novel film and animation techniques. It was a series of vignettes either from a biographical event or one of McLaren's work. My main complaint was that there too many such scenes over the course of 2 hours, leading to viewer fatigue. With such busy-ness, there were hits but misses too. For every successful bio event (an inventive use of a drafting table) or recreation (a row of dancers shot like they were a single film strip), there were duds (an interminable foray into Shanghai complete with dancing Red Army soldiers, an anemic re-enactment of Neighbours). Often times, it felt like a scene was shoe-horned in so they can demonstrate another gee-whiz interaction between dancers and multimedia technology. It was promising work but Frame by Frame needed an editor.

Catch Me

Myself, and probably thousands of fans around the world, enjoy the smooth sound and lo-fi aesthetic of Montréal band Men I Trust. This trio has millions of views and streams yet is completely under-the-radar and doesn't tour. There are videos of lead singer Emma tearing up when, at a first-time show at some remote club, the audience sings along with her. So I was excited to finally hear them live at The Horseshoe on Friday.

Montréal compatriot Anemone was the perfect opener. They had similar funky bass lines and singer Chloé Soldevilla also projected a similar 60s baby-doll vibe (see Bout de Toi). This Charlotte Gainsbourg meets electro-dance provided an up-tempo start to the evening.

The packed crowd loved Men I Trust's headliner set with cries of "I love you Emma" throughout the evening. What was more amazing than people knowing the lyrics was that many recognized the songs after only a few notes of shimmering guitar/synth chords and chill bass line had started. Numbers like Tailwhip and Lauren kept the fans happy throughout the evening.

Dance For Me

Dundas West Fest has taken over the street from Ossington to Lansdowne. I usually check out a few indie bands at the stage opposite The Garrison. But this Saturday, I decided to head to the other end to hear some World Music at the Lula Lounge stage.

Okan is comprised of two Cuban women, one on percussion and the other on violin and vocals. They have a rotating cast of performers on drums, bass, and piano. Today they were joined by Danaé Olano, a pianist I saw performed at Gallery 345. It was a high-energy performance of Afro-Cuban jazz music full of complex rhythm. There was a dash of modern jazz in some of the passages. The addition of a classical-trained violinist also introduced some interesting flavour to the arrangements and solos.

Pay To Play

I was at The Drake Underground on Monday the last show of The Diversity Tour. This tongue-in-cheek headline was a winking reference to the currently in vogue idea that racism is over now that we have "diversity".

Unsurprisingly then, that both acts were fronted by performers who have something to say about this sort of tokenism. First up was the South Asian brother-sister act of Too Attached. Trans woman Vivek Shraya had plenty of experience on that subject, including being fired from mostly white "diversity office" of Toronto. Meanwhile, Alanna Stuart of Bonjay was too black for the Ottawa suburb of Orléans and too "white" for Rexdale. Both their music were electronics and synth heavy, although Bonjay's influences came from Dance Hall and Reggae.

I wished I had enjoyed the night more. Unfortunately, there were too many speeches between songs. I recognized the importance of articulating these thoughts and memories. But these lengthy breaks killed any momentum and energy from both sets. This was a shame, since along with quite catchy songs, Bonjay had outstanding and cohesive visual effects to enliven the show.

Noodling Around

On Friday, I was heading home early from work around lunch-time. As I was feeling peckish, I decided to stop at Yonge and Sheppard for food. I opted for Golden Rice Noodle for two promising reasons: it was packed and all the customers were Asian. Looking the mostly noodle dishes, I settled on the "pickled cabbage rice noodle with fish slice" ($13.99) and a glass of soy milk ($1.50).

A bowl of broth arrived at my table. Where were the other ingredients? They came separate, each in their own little container. This odd arrangement was based on an old folk tale/tradition. There was quite a variety: soft tofu, crunchy wood-ear mushrooms, chewy bean-curd skins, sweet corn. Along with the fish, there was beef and chicken, too. The noodles were toothsome and did not get too soggy. It was a nice lunch with a range of flavour and texture though I needed extra paper napkins to wipe off all the sweat beading on my brow.

Indie-pendence Day

This week was the inaugural Estonian Music Week promoted by the Estonian Embassy (and business sponsors) to mark the 100th anniversary of its liberation. A number of Estonian and Estonian-Canadian artists were playing at various venues around the city. Friday night was Indie night at Lee's Palace.

First up was local songstress Kaili Kinnon. She was probably already well-known in the community for her church activities. With a throaty voice and a penchant for funky vibe, she entertained the already large audience. Although if she wants to achieve Charlotte Day Wilson's groove, Kinnon may need to dial back the transitions.

The next two acts hailed from Estonia, neither one of which required any proficiency in the language to enjoy their music. Erki Pärnoja, recent winner of Male Artist (Estonia Music Awards), played a muscular instrumental rock. His set got a lot of heads nodding. In contrast, Pia Fraus played softer shoe-gaze. But the knob-fiddling came from the synths and not guitar pedals. They also sang in English. Unfortunately, the introspective set thinned out the crowd quite a bit.

So local Canadian act (no Estonian link) Diana played to a sparse room, composed of mostly local fans. This was a shame because their only show this summer was a set of catchy 80s flavoured dance-pop. In fact, the few remaining newbies (Estonian or otherwise) joined in the fun because Diana's music was eminently dance-worthy.

Slurp Burp

Though Café Diplomatico has lasted for decades at College and Clinton, over the last 10 years several restaurants have rotated through the cursed spot at the opposite corner including a Jamaican Jerk spot (AF1 Canteen). The latest contender is Tondou Ramen.

On Friday for lunch, I stopped by for a half-size bowl of shio ramen ($9) and some gyoza ($5). They were both good and on par with the better ones. Not a bad feat as there are now many ramen joints in Toronto. What made this spot a stand-out for me was the bevy of free condiments from soy-infused garlic to spicy bean sprouts.

Lost In Translation

On Saturday, I went to Tacos Baos near Ossington and Bloor. This was a sort of fusion place where you can order Mexican-style tacos or Asian-style bao. I opted for a steak asada ($4.50), a pino breakfast bao ($4.50) and some fries ($2.75). None of it was very good for the price. As I was eating my meal, I reflected that these were the dishes that places like El Toro (high-quality taco) and Momofoku (open-faced bao) started offering 5 years ago. Now they have finally gone mainstream/fast-food if a spot like Tacos Baos is opening. This was good news overall except that they are charging Momofoku prices with nowhere near the quality.

Update: Unsurprisingly, this restaurant has closed. Even if this neighbourhood is chi-chi enough (which it is in the process of becoming) for this sort of eatery, the execution wasn't there.

Charge It Up

On Thursday, I was at The Baby G to see a few acts. Lately, this venue has been the go-to for smaller bands. First up was Nyssa. Her short, blonde cut, cowboy swagger, and deep voice fitted perfectly with her new songs that sounded like a cross between Meatloaf and Johnny Cash. Next was Ice Cream. They debuted big with a sold-out show at Smiling Buddha but have struggled to keep that momentum going. I still like their dissonant poppier Nine-Inch Nails aesthetic. Finally, Negative Gemini from New York took the stage. There was nothing wrong with the oomph-oomph dance beats, but they needed a bigger dance crowd and especially a much better sound system than the anemic one at this venue.

Beach Blanket Bam-Bams

On Friday, I went to The Opera House for the last show of The Beaches first head-lining tour. First up was Goodbye Honolulu. These pop-punk dudes looked to be as young as The Beaches themselves. They played some energetic tunes though perhaps a little too enamored with musical changes within the songs.

Next up was a 3-piece band headed by Taylor Knox. Though a drummer for other bands, he is the lead guitarist and singer for his own outfit. On the skins was Liam Jaeger, lately of The Balconies. They played a muscular psychedelic pop with an updated take of the 60s vibe. Definitely several crowd pleasers in their set.

As a nod to one of their idols, Avril Lavigne's oeuvre started playing about 10 minutes before The Beaches' came on stage. However, their entrance was signaled by My Humps. Perhaps ironically (as a middle-finger to people who dismiss all-female rock bands) or maybe as an inside joke (since they do sell a tee with the phrase "itty bitty titty committee"). The sold-out crowd knew almost all their songs (T-Shirt, Money) and sang loudly along. With an assured stage presence despite their age, high-energy music (a combination of "indie cred" and mainstream appeal), and photogenic swagger, they will likely break out soon. They've already won a Juno for Breakthrough Artist this year.

Git Along

I was at The Mod Club for a mid-week concert. First up was Jeremie Albino. The best way to describe his set was honky-tonk Elvis. Head-liner Lindi Ortega took the stage shortly after. There were a couple of new Lindi Ortega fans around me and they drank in her performance. Certainly there's both vulnerability and power in that quivering voice. I didn't love tonight's set as much as her previous visit. The songs from her latest release are interesting as a cohesive concept album, but they don't have the same emotional impact as her older work. There was a little bit too much spaghetti western in the sound. Hannah Georgas and JJ Shiplett came on as musical guests, but the mix was off tonight and you could barely hear them.

Is There Time Enough?

Saturday at The Baby G, two tiny women put on big shows. First up was Language-Arts fronted by Kristen Cudmore. Their set was a combination of dense lyrics with noisy prog-rock/jazz influences. This was the first time I saw Cudmore's dog Sprout at a show, though she has a song dedicated to him. Luckily, he had on a pair of doggy head-phones to keep the volume down.

Anne Douris of Bossie really went all out for the release of her debut album. The stage was decorated with huge props including giant comb and lipsticks. At one point, dancers dressed as lipsticks did a choreograph routine. Her sound, an updated take on 80s bubble-gum pop had plenty of fun hooks. She also did some great covers including The Sailor Moon theme and 9 to 5. Douris had great crowd-pleasing sing alongs including Meteor and the even catchier There Will Be Time.

The crowd was much smaller than her debut at Smiling Buddha when they packed to see her based on coverage from sites like Now Magazine and Stereogum. I've been thinking about what makes a band break out (Alvvays, Charlotte Day Wilson) and the rest who never get any traction. The factors could be as varied as each success story, but it seems that the ones that do so nowadays tend to move quickly, within 1-2 years of getting that first buzz. If true, the 3 year between Meteor and this album might have been too long. So despite her musical talent and physical attractiveness, a bonus for mainstream success, Bossie may have missed her chance.

Everything Sucks, Not!

On Friday, I skipped out on the headliner of another show to see Dwayne Gretzky's annual 90s theme show at The Phoenix. No regrets though because it has gotten better with the years. Although being the 6th such event, we're approaching the show becoming almost as long as the decade.

In any case, one reason why it has improved with age is with more singers in the band, including the trio of Meg Contini, Lydia Persaud, and Jill Harris of The O'Pears, Carleigh Aikins, and a plethora of guests, the sets have expanded beyond only male rock. So you get gems like No Scrubs, Criminal, and Virtual Insanity. Of course, you also get All-Star. But we can enjoy that too, if only ironically because the performer sang it inside a giant inflatable balloon suit. It's also amazing to think DG has grown big enough to charge $40 and sell out both nights at the 800-capacity venue.

Tastes of the World

The poutinerie at College and Shaw went under to be replaced by the oddly named Fargo (Snack Bar). On Friday, I dropped by for a test. It offered an eclectic menu with Jamaican jerk chicken, Indian curries, and Asian bites. There aren't too many such places in multi-culti Toronto. Rasta Pasta is one such exception.

Unfortunately, Fargo wasn't quite as tasty. The veggie Kottu Roti ($9.50) I ordered was run-of-the-mill and lacked the spice and flavour associated with this rich dish. The location was also problematic. Though Little Italy is closer to Little East Asia nowadays, residents and visitors still expect a particular dining experience around here. This probably explains the lack of customers to this spot.

Update: Fargo disappeared a few months later and was replaced by yet another weirdly named place 'Ronto (likely for Toronto). The new spot still offers similar mix of dishes so it might be the same owners.

Never Surrender

On Friday, Massey Hall hosted Matt Mays. I wasn't actually there to see him, and not just because I had another show to attend. But I mostly wanted to see Kathleen Edwards. I caught her as a guest at a concert and was impressed with her talent. But she left the music business soon after to start Quitters Coffee (wink) in Stittsville with only a few one-off shows. So tonight was my first taste of her original material.

I can see why she still has loyal fans. Edwards is a great songwriter. Her music combined honest and wry observation of everyday travails with sharp and evocative imagery. Whether or not historically accurate, there is a movie trope about salt-of-the-earth people like farmers who possess surprising literary acumen or verbal eloquence. Her set had that feel. Long-time fans cheered when she played new songs inspired by her recent experiences: whether turning 40 or having a new significant other and by extension, inheriting his 4 kids. Like myself, they'd probably hope that these might make it into a new album someday.

Old and New

On Wednesday, I headed to the Great Hall for a mid-week show. First up was Moscow Apartment. These two young women (both approximately 15-17 years old) did a nice set of guitar and vocal harmonies with both taking turn on lead. I was impressed that their songs were mostly not love songs. They sang about body image and little vignettes about cats, plants, and best friends. This is something musicians with years more experience can't manage. The over-representation of banal love songs in most shows I go to bore me to tears. The audience probably felt old since their natural banter used modern references that escaped most people. Even their covers, Radiator Hospital's Cut Your Bangs and Big Thief's Paul, were too obscure for us fuddy-duddies.

It was a large band that backed Ben Caplan. Although he did include some older material, the set was mostly about the songs off his upcoming album Old Stock. These came from an off-Broadway play he collaborated on about the immigrant experience. You come to a Caplan show for the maniacal energy and verbose lyrics. Of the new music, Widow Bride impressed me the most, a sly metaphor on the colonial narrative that North America was "virgin land". All the musicians were supremely talented but Taryn Kawaja (vocals, melodica, alto sax) brings something special to the show.