Koerner Holler

On Wednesday, I was at The Monarch Tavern for 2 singers. First up was Kirty. I was at the show where she joined Fast Romantics. Since then, she has been working on some solo material. I was interested to hear how it differed. Where the larger band often had an Arcade Fire vibe with ecstatic sing-alongs, Kirty was small songs about personal events. Though most numbers, like the usual pop song, was about romantic love, some like the one about "this year's been hell" was more clear-eyed and sober.

Headliner Maggie Koerner from New Orleans is still a young performer. Yet she already has material spanning several years. She sang with her whole body, all expressive hand gestures and emotions. She often stood back from the mic, but that didn't diminish her huge voice. Koerner channeled older soul singers through a modern, sometimes Billie Eilish-ish aesthetic: a little Aretha Franklin on He Calls Me Mama or a touch of Janis Joplin with Cayute Woman. It was visceral music (doom soul?) and her band matched her energy with several extended bluesy intervals. Throughout her set, it was clear that Koerner was much too big for this small bar. Her second visit to Toronto will be for sure at a larger venue.

Sunday Lunch Day

I was meeting with a friend for some convo. Since their taste leaned toward Italian we met up at Terroni on Queen St. West. In the low-margin restaurant business, it is remarkable that this venerable group still has several locations in Toronto. But despite living here for decades I have yet to dine at Terroni.

This location certainly had the ambience: cozy and bustling. Looking over the menu, I picked Verde ($10) and a Margherita pizza ($16). I don't have much to say about the meal. It was inoffensive but left no impression: a basic salad and an average pie. The pizza was thin-crust, had a good chew, but lacked any outstanding character. This was comfortable, nostalgic food for regulars.

Only the conversation stood out for me. My friend, a dreamy soul, had apparently caught the financial investment bug. Now along with books of poetry and esoteric subjects, they peruse the Wall Street Journal with gusto. This may be related to their decision to consider early retirement; yet another person I know who could be in the middle of major life changes.

Me and My Shadow

On Thursday, I was at The Piston because I always try to see Emilie Mover given her rare appearances. First up was Simeon Ross. He was a cross between Brendan Fraser, for his clean-cut look and warm humour, and Bruce Springteen, given his heavy strumming and earnest lyrics. He was joined by keyboardist Heather Graham tonight though they haven't played together in 2 years. Her career as a lawyer reminded of the current trajectory of the duo Chris & Nicole.

Sigrún Stella brought her full band, it might have grown by 1 more player. They offered some americana, some country, and even a little bit of folk (though that was mostly Stella on a couple of solo numbers).

When Mover took to the stage, she admitted that she should consider planning for more live performances (ie, with a band). That would certainly be wonderful; the last such show of her own material was several years ago. Tonight was the first concert with a new guitar and quitting smoking after 23 years. She picked up the habit after a trip to Italy with her father. The pleasure of a Mover show is the wonderful balance between her guitar playing and lyrical verses. Both seemed at first simple yet concealed much depth. Her playing often shift unexpectedly from simple pop chords into a set of melancholic jazz transitions and her words are packed with layers of meaning. Tonight there were some new or unrecorded songs including New York and Forest Hill.

I had to skip out of newish band Blue Copper because it was getting late in the night.

Young and Fun

I usually attend fairly staid events at Lula Lounge, with diners clinking plates or glasses while watching a show. So it was quite enjoyable to attend a concert on Wednesday with the tables cleared away, and a packed crowd of young people there to socialize and dance. The indie crowd of 2019 is different from 10 years ago. If that 2010 group channeled understated 90s flannel grunge, then the new kids were all about big 90s pants and tops but cinched tight around the waist and mid-riff to show off enviable figures. There's also a lot more expressions of non-binary and queer identities.

Watching opener Katie McBride was a slightly disconcerting experience. First, she resembled an old friend from decades ago so I kept expecting her to recognize me. Second, with a voice that at times sounded like Sarah McLachlan, the noisy layers of sample and chill-pop made an interesting contrast.

At first, pianist and singer Louie Short reminded me of Gilbert O'Sullivan with quirky melody and lyrics. But if Short and his band sometimes switched mid-song into a bridge or verse of 70s balladry, their music was all about groovy bass, funky rhythms, and sweet falsetto singing. The crowd got into it big time and unlike other Toronto audiences, didn't need prompting to crowd the stage and dance with gusto.

Having been to another Jaunt show, I knew that the good vibes would continue. But my old bones needed my rest so I left the night to those young enough to not miss sleep.