Teach A Man To Fish

I've heard Hamilton-based singer Jeremy Fisher only once before, at a Junos showcase at the Horseshoe. So on Tuesday, I went down to the Harbourfront to see a full set at the Pan Am-related Celebration Zone. Being on the scene since 2001, he seems to have a good number of long-time fans, as well as plenty of songs to draw on. The oldest one, Lemon Meringue Pie, got some amazed murmurs. Most of them (Alison, Cigarette, High School) were typical pop. Their distinguishing feature was Fisher's well-crafted lyrics. Although a tune like The Bride Is Dead (from reading an article about a man having a wedding day for his girlfriend after her sudden death) did veer into groan-inducing puns.

The set was elevated by Fisher's stories. The man was a natural show-man and story-teller. His songs often stretched into the 10 minute mark because half-way through he would relate some amusing or laugh-out-loud anecdotes. They could also be touching as during his cover of Greg Brown's Canned Goods. The most funny/"right in the feels" story was told while he played Ain't Got Nothing But Plenty of Time (inspired after a cross-country bike ride a long time ago). Recently, Fisher was on a bicycle tour of Southern Ontario. After he passed the 1000 km mark, he spent 20 minutes revising a humble-brag tweet. Just then, a man passed by on foot. After they struck up a conversation with Fisher crowing about his accomplishment, it turns out the man was Jean Béliveau, who was a few days from completing his 11-year walk around the world. Amid the laughter, Fisher quipped: "I'm sure both of us thought the other guy was an asshole."

X-Factor

Allie Hughes has been kicking around Toronto's music scene for a while, but her move to L.A. and transformation into a Lady Gaga-esque Allie X has brought much more attention to her music. On Saturday, she was a musical guest for the Flaunt Festival at Harbourfront.

Supremely tall on gangly boots and legs, this was essentially a reprise of her show at the Drake. But given her synth-dance (with weirdo touches) style, a tightly choreographed set is to be expected. Her dance moves were more (deliberately) animatronic/cyborg than Beyonce athleticism. With only a few songs released on the CollXTion I EP, she played the songs in order. But this was also a choice with the narrative that she was telling. Despite the seemingly pop nature of her music, she showed off her big pipes every now and then, as well as an "accidental" demonstration. During prolonged technical difficulties by her band before starting Prime, she decided to play the first verse by herself in an "operatic manner" accompanied by her classically-trained piano playing. The old people behind me could be heard expressing their amazement.

But the advantage of playing for fogeys at public venues instead of hipsters at underground trendy clubs is that they buy merchandise. So unlike her lonely table at the Drake show, there was a line-up afterwards for CDs and t-shirts. The other contingent is a small vocal fan-base comprising of young, queer kids. They cheered and danced during the show and stayed for photos and autographs. Her new music and outsider attitude seemed to have struck a chord, as a few fans were moved to tears talking to her.

Petit Déjeuner

The disadvantage of being an early riser is that most eateries don't open until almost midday. Incredibly, late night hot spot Bar Raval may close at 2 a.m. but they re-open at 8 a.m. So on Saturday, I headed over to try their menu. Reviews often talk about the unique curves and swoops in the bar. They were right, it was like being inside a "hipster Hobbit" home (in a good way). Even more amazing, except for the oyster bar, everything else on the menu was available as well as breakfast items arrayed on the bar-top.

Though everything now is labeled tapas this or that, Raval is a true Spanish tapas joint. It was also clear how they can open so early. Most dishes use raw or cured ingredients that just need some deft assembly on a plate. Nevertheless, this was high-quality stuff. So my first bite into the Galacia octopus ($8) was heaven: thinly sliced and tender. The sardines floating on top of a creamy base for the Stracciatella and Boquerones ($7) was equally delicious and not too strong in flavour.

Unfortunately, the Jámon croissant ($4) was a disappointment. Whoever they source their croissant from didn't do a great job. This was thick, heavy pastry closer to store-bought than the light, multi-layered, buttery decadence from a quality bakery. The ham was obviously high-end, but too thick and tough. The almond teacake ($4.50) was better: lightly sweet and not too dense. But the poached pear didn't have that usual lovely flavour.
So the take-away for me was stick to the main menu. The early opening hours are a blessing but at $35, Bar Raval is a bit steep to serve as a regular breakfast joint.

Crain It Up

Thursday night, I went to the Dakota for an early show. It was unfortunate that it was so sparse for Samantha Crain, a singer-songwriter from Oklahoma. Sometimes the sheer amount of going-ons in Toronto can be unkind to indie musicians. On the upside, the few that were there were true fans.

Crain came to my attention via Facebook posts from First Aid Kit, having opened for them in the U.S. I was curious enough to check her out for myself tonight. Well, she is a fine writer of americana music, much better than many bigger acts out there including First Aid Kit. Whether it was older songs (Santa Fe, For The Miner, Devils In Boston) or new tunes from her just-released 4th album (Elk City, When You Come Back), these were sharply observant stories of every day life. But what made her set a wonderful hour of music was her playing and her resonant voice. Without a band, many singers turn into boring chord strummers. But Crain had a repertoire of guitar techniques to enhance each song. Any musician who can replicate the exciting, driving pace of Lions with just a guitar is a great one. Foreign musicians seemed compelled to cover a Canadian artist when touring here, though it's true there are some musical giants from the North. So Crain covered Neil Young's Tell Me Why. Though there were calls for an encore, Crain had already played plenty of music. In any case, she made a beeline for the washroom, probably due to all the free booze sent to the stage by numerous admirers.

What Magic Is This?

Tasseomancy has always flown under the radar, but receiving a 4-star review (album of the week) from Now Magazine for their new album may give these sisters more exposure. So unlike the empty show at the Cave, it was respectably full at the Burdock on Wednesday for their CD release party. Actually, as they pointed out, the new album was actually on cassette.

Forgoing an opener, though there was a DJ for later on, the Lightman sisters took to the stage at around 9:30. There was an underlying pop flavour to their music, perhaps inspired from singing backup for Austra, or due to the keyboard of Johnny Spence and steel pan of Evan Cartwright. But their own inspiration were more eclectic: Amis Tutuola inspired Palm Wine Revisited, a new song was based on a book by Colette and Apophenia is the phenomenon of seeing patterns in randomness (though they did sneak in The Supremes' Keep Me Hangin' On in that song). Though the sisters claimed tongue-in-cheek that their only pop hit (it's "big in Europe") was the catchy Braid Wind Is Coming, their musical arrangement was layered but accessible. Their earnest banter gave the show the feel of a small house party. I don't know if their music could translate to a bigger stage, but they do deserve more commercial success.

A Feather In The Cap

On Tuesday, I headed down to CBC for a First Play show. I was expecting Ben Caplan to play from his new album, but it was a double set with another East Coast singer: Old Man Luedecke. Both singers also graced each other's set with a song or two. But overall, this made for a disappointing evening. There simply wasn't time to get deep into the music, especially for Caplan who is known for his manic energy.

Chris Luedecke seemed to have settled into marital bliss. So his songs have a bit of a memoir feel whether it was a long-ago first love (Yodelady), his wife (Briar and the Rose), or the speed at which children grows up (Early Days). Appropriate then, that his parents were sitting behind him, beaming with pride. I'll have to have a few more listens to decide if I like his take on that ubiquitous banjo/mandolin folk on the current music scene.

For Ben Caplan, this was a subdued show. Which means he only had 150% the stage presence of a typical performer. He started with old favourite Beautiful but his abbreviated set concentrated on new songs like Belly of the Worm and Abraham. I quite enjoyed this version of the Casual Smokers, mostly East Coast players as well. But I missed the wild violin playing of Jaron Freeman Fox. The vocal harmonies were a nice addition, especially from Taryn Kawaja. At the request of the producer, both bands came together for a cover of Uptown Funk. I'm thinking somebody from the CBC is hoping for a viral hit.

Hot Summer

Having been exposed to the blazing sun at both Retrocity's Jazz showcase and Kiesza's synth-dance, I dragged myself home to cool down. But I finally roused myself enough to head over to The Burdock for a final show on Saturday.

I only caught 1 song from the first act. Raleigh, a experimental-pop band from Toronto via Calgary, then took to the stage. Usually a trio, they were more acoustic tonight without their drummer. With the intimate setting, they decided to play mostly new material with tentative titles like Living In Ocean, Sunrise and Acid Tongue. Their music leaned toward unusual chord changes, soft harmonies and fragmentary lyrics. But what stood out for me was Clea Anais's cello, which had more complexity than the typical "background string" arrangement of most pop songs. The band seemed to have a super-fan who was very vocal in his appreciation after every number.

The main reason I was there was for the new Vancouver version of Olenka and the Autumn Lovers. Even when she was still in the area, Olenka Krakus didn't play much in Toronto, being based out of London. Now that she has moved to the West Coast, I thought the show two years ago might have been my last. I was in for a treat tonight. This incarnation, with drums, lead guitar, and a "woodwind" section comprising of a dude switching between bass clarinet, alto and soprano sax, was big and muscular. They played mainly brand new songs (Runaways, Courtyard) and new-ish songs from the Hard Times EP (Hard Times, Winterlude). These were more indie-rock than the Eastern European feel of their old songs. When these  (Warsaw Girl, Iron Pump) were played, there were plenty of cheers. Thanks to the great sound at this venue, their set was the best I've seen from them.

Sound of a Woman

Singer Kiesza has been blowing up ever since her viral video Hideaway hit Youtube. For the Pan Am games, she had a 6:30 head-liner slot on Saturday (at Pan Am Park) and an 8:30 opener slot on Sunday (at Nathan Phillip Square). I decided to check out both shows. Her demographic definitely skews younger as the front by the stage were packed with young teen girls. Some even waved signs. There were some unusual fans including a teenager with a wispy goatee, dressed all in black, who seemed a more natural fit at a Metal concert.

Since she mostly sang dance songs, the whole show was tightly choreographed: not just with the 2 dancers, but with the rest of her band, and even some of the stage banter. In that sense, it was more like watching musical theatre. It was exhausting just watching them on Saturday with the 40-degree sun beating down. The cooler weather and later time slot on Sunday gave the tech-hands a chance to play with the fancy stage lights.

It's not easy to sing and dance on almost every song whether slow (So Deep) or fast (Giant In My Heart). But to be honest, Kiesza was a bit "dorky" with her movements. Compared to her smooth dancers, there was a touch of gangly awkwardness in her execution. All that dancing make her superfit though, as her mid-riff baring tops showed off her flat belly and abs. With full sets, she also included collaborations including Teach Me (Joey Bada$$) and Take Ü There (Diplo/Skrillex). Kiesza did have quite a set of pipes though on cover Human Nature (Michael Jackson) and her ballad Sound of a Woman. Of course, Hideaway closed out her set both nights to huge cheers.

On Sunday, prior to her set, Pupy Y Los Que Son Son and La Bottine Souriante brought cheerful Latin music and foot-stomping Quebecois folk to the packed square.

Sing For Your Lunch

Saturday morning was bright and sunny. I briefly regretted not getting beach volleyball tickets for today instead of sitting through a rainy afternoon. But after 10 minutes in the sun, I didn't think 3 hours would be much fun. After looking through eating options in the Queen and Coxwell area, there weren't any compelling choices. So I stayed in the West End and stopped by new diner Starving Artist at College and Ossington.

This 3rd location is more spacious and gleaming than its cozy, slightly run-down parent on Lansdowne. As their specialty is waffles, everything comes with the fluffy confection. I ordered the Monte Cristo ($14). The ham, turkey and melted havarti cheese gave it salty smokiness. The waffles were a little too thick, especially as 2 of them were used as "buns" to hold the meat. But liberally applied syrup added some sweet flavour.

Well-fortified, I headed over to Woodbine Park in the East End for the Beaches Jazz Festival. Although since the group was 80s a capella band Retrocity, calling it Jazz may be a stretched. A group associated with the Sing! Festival had secured a small stage to promote a dozen or so a capella bands (a rather niche genre). It was a bit forlorn sitting alone near Kingston Rd and Queen East (not a beautiful area away from the park). But the audience received the music with enthusiasm. Since many were also singers, sing-a-longs were particularly pleasant. From I Need You Tonight to Never Surrender to Killer Queen, I was familiar with Retrocity's kitschy but fun set. The bonus today was that after almost 10 years, they have finally released their sophomore album entitled Mixtape. With releases hot off the presses (they had received the delivery on Friday), I snapped up a copy.

Wet Blanket

Friday was forecast to have some rain. Around lunch-time, the sky opened up and it rained off and on for the rest of the afternoon. This weather was perfect for a nice bowl of hot Hue-style pho (bún bò Huế) at Pho Linh on College. It would have also been ideal for something indoor. Unfortunately, I had tickets to see beach volleyball at the Pan Am Games. With several billions dollar of public money spent, I wanted to actually check out some events.

So I had my first view of Pam Am Park on the Exhibition Place grounds. It was a rather sad sight to see with few people around. The beach volleyball was a little more lively with a half-full stadium. I sat through 3 preliminary matches, getting drenched now and then. All 3 were straight set wins, though given the weather, I can't complain. The players in the Puerto Rico vs Colombia wore full suits to keep warm. In contrast, the women in the Argentina/Chile match decided to ignore the weather and still played in sporty bikinis. The match between the men of Mexico against Trinidad/Tobago looked like it would end prematurely. After the 1st block, a tall T/T player fell awkwardly. For a few moments, it seemed as if he need to be carried off due to a knee injury. But he rallied after awhile. Not that it helped, as they were outclassed by the Mexican team.

I came home in a tired funk and took a long nap after dinner. I decided to venture out later in the evening and ended up at The Holy Oak near Bloor and Lansdowne. I had missed most of the music except for head-liner Nyssa. Perhaps I was in an uncharitable mood as the bartender had charged me $9.50 for an $8 drink, but I didn't love her set. I saw her once before at The Silver Dollar and really enjoyed her dramatic but morbid synth-pop. Tonight, it was more straight-forward. There are lots of local bands doing a better job on fun and cheery synth-pop.

Dad Rock?

With his new status as husband and father, Bry Webb put The Constantines on hiatus (though they have reunited for shows here and there). He still made music, but in a gentler vein. His performance at Massey Hall where he opened for Coeur de Pirate was "special enough" in his words that they decided to release an LP of that live show.

Thursday night, to celebrate that release, Webb has assembled the same players (whom he dubbed the Providers) for a show at the Great Hall. But first up was Isla Craig. She set the mood of the evening with some "psyche jam" including older song Continental Drift (cut down from 12 minutes), but mostly new tracks such as Far Away Blue. I was mildly disappointed since it was much less groovier than her sexy gig at Burdock.

The Providers have a bit of an all-star feel with musicians from other bands including Nathan Lawr (The Minotaurs) on drums and Anna Ruddick (Ladies of the Canyon) on upright bass. Though numerous songs were quiet such as opening number Undertaker and there was even a "sad dad" song section, Webb admitted that "sooner or later, [guitar] distortion creeps in". So the music (Rivers of Gold, Ex-Punks) was much more muscular live with bigger rhythm and arrangement. Not quite Constantine loud but enough to get people's heads bobbing. I thought the acoustics tonight was much better than Massey, letting every note from the various instruments shine through.

Though people were pretty vocal in their appreciation, Webb winkingly encouraged them to really cheer for an encore ("You don't know how hard we worked on it.") Sure enough, the audience was rewarded with a blistering cover of I Know You Rider (Grateful Dead).

Dwunch

On Thursday, I stopped by Duffy's Diner near Bloor and Lansdowne for lunch. From the décor, full of kitschy signs and tchotchkes, you might believed the "since 1949" sign. But although the epynomous bar next door might have been around since then, this extension is a recent add-on.

Their menu comprised of typical diner fare including all-day breakfast items, burgers, and sandwiches. I opted for a pulled pork sandwich ($13). It came on a brioche bun, topped with an apple and cabbage slaw, a pile of fries, and a few pieces of fruit. The description claimed a smokey whiskey sauce but I didn't detect much of that. The food was about average for this type of joint. Good for a quick lunch when you just want a bite or two.

Acid Rain

On Tuesday, it was back to Nathan Phillip Square for another free concert. I arrived just as Rich Aucoin was wrapping up. His show has a reputation for being over-the-top and exuberant. From the crowd hopping under a giant blanket, to confetti guns blasting into the air, and plenty of dancing and jumping on stage, it certainly looked like a lot of fun.

Next up was Cold Specks. Fun isn't really a word to describe her music. As she herself wryly introduced songs "about decapitation" or "here's another morbid tune", her music mined funereal themes and feelings. Appropriately enough, the sky started to lightly drizzle during her set. She started and ended her set with a capella songs which really showcased her unique voice. It's powerful but not "pleasant" in the manner of a pop diva. So there was nothing soothing about her singing: "gospel" music not to fill you with hope but drive you to drink.

On the South Stage, which extended out onto the large reflecting pool at the square, a group of ballet dancers performed a contemporary ballet piece called Venom. Greta Hodgkinson was surrounded by men who grasped and clung to her. Sometimes she accepted their embrace, and other times she kicked them away. I was impressed with their handling of the outdoor condition. In regular recitals, you don't have flashing cameras in your face, even if they were done 20 feet away. Alas, the off-and-on-again rain became a sudden downpour about half-way through their performance. They had to stop, graciously accepted the applause, and like the rest of us made a dash for shelter.

Ontari-o-i-o

To take advantage of the Pan Am, but not officially affiliated with it, Harbourfront is also showcasing a free month of activities in the Ontario Celebration Zone. So on Monday, I stopped by for a free concert. Between The Cowboy Junkies and Hollerado, I opted for the latter. The Junkies do write great tunes but the large outdoor setting probably won't do their quiet music justice.

I was surprised to see that 3 of the 5 Hollerado members were from my one of my favourite local band Stella Ella Ola. This promised to be a great show. Hollerado has been getting some buzz and playing some larger venues but this could be their best managed show. Even the lead singer commented on the crystal-clear sound mix. Combined with a giant display behind them with live camera footage from numerous angles, it was like watching a "big-time" concert. Their young fans ate up all the catchy, upbeat songs including Americanama, Juliette, So It Goes. They invited bronze medallist Adam van Koeverden on stage to jam out on Rocking In The Free World. Despite approaching the curfew, their fans convinced them to come back for a short encore including an energetic cover of Dammit (Blink-182).

Pandemonium

As part of the Pan Am games in Toronto, there is also Panamania comprising of 35 days of mostly free arts event including numerous concerts. On Saturday, I went to my first at Nathan Phillip Square. The organizers have set up 2 stages to make setting up performers be more efficient.

As I arrived, Wyclef Jean ("If you don't know me, just google") took to the West Stage. He named himself the modern Sammy Davis Jr. (i.e., a "triple threat"). He certainly did everything from singing, rapping, playing the guitar (rather suggestively with his tongue at one point), and banging on the bongos. He even did a handstand walk at the end of his set. With Fugees tunes, his own collaborations (for example, Hips Don't Lie), and a number of reggae-fied covers (Knocking on Heaven's Door), the crowd ate up the party vibe and gladly danced to his exhortations.

They were a little more subdued for Serena Ryder at the North Stage. But I think it was due to some odd sound tech decisions. I don't usually complain about a concert being too quiet but there it was. So when it was just her and a guitar, it was fine. When the full band was playing, everything sounded weak and muddy. Nevertheless, there were plenty who enjoyed Ryder's set comprising of old favourites (Stompa, What I Wouldn't Do) and some brand new songs from an upcoming album (Fire Escape, Ice Age).

En Garde

On Friday, I went to an early evening show at the Fringe Festival entitled SwordPlay: A Play of Swords by a local sketch/improv troupe. This parody of the fantasy genre, mostly movies and video games, went over well for the large, enthusiastic crowd. The show's homages were quite apparent; the most influential being The Princess Bride. A grand-father tried to entertain his sick grand-daughter with an old classic. But in this case, instead of a beloved book, it was a video game from the 80s. Other nods included an extended chase scene with a masked pursuer, and a marriage overseen by an unintelligible clergy.

There were also winks to the musketeers with 3 buddy-knights, and various video game conventions. Every now and then, the music would shift to cheery 8-bit sounds and the performers would hold up cardboard cut-outs containing pixelated drawings to remind us that we were actually "watching" a game. The other big source of reference was Game of Thrones. There were over-the-top bloody but humorous fights, poisoning, and fatal banquets. But mostly in the character of Princess Pimpernel, who revealed herself to be more than a "Save Me Mario" damsel but rather some combination of Daenarys Targaryen and Arya Stark.

The performers were fun to watch and inventive in their use (and re-use) of props. And the play was short enough that the pastiches didn't grow tiresome. It could make a great kids play but the references may be too old to appeal to anyone under 30.

Boot To The Head

In my time here in Toronto, I rarely attend any of the big theatres showing the more popular Broadway productions. They always seemed a bit overpriced. But on Saturday, I went for the first time to the Royal Alexandra Theatre for Kinky Boots. An out-of-town visitor wanted the big-city experience.

These old theatres always feel smaller than expected since we are used to the larger scale of modern architecture. The Royal Alex was a paean to the WASP nature of old Toronto. Ornate decorations, busts of dead white men, and red velvet everywhere. It was both luxurious and a bit silly, but I can see how it could appeal to a certain nostalgia.

Our front row seat on the 1st balcony gave us a great view of the action. The musical opened with the brick facade of Price and Son, a shoe factory in Northampton. The wall would peel away to reveal the  cast of characters. First though, there was a flashback to the childhood of the two main characters: Charlie Price with his dad, and Simon with his gruff boxer father. Mr. Price regaled his son with the wonders of a well-made shoe in The Most Beautiful Thing In The World, while a young Simon was secretly indulging his love of women's shoes.

In the present day, Charlie (Graham Scott Fleming) came back from London after his father's death to find the factory on the verge of bankruptcy. Nobody wants to buy well-made, but pricey and rather stodgy, shoes. Simon has grown into the diva drag queen Lola (Alan Mingo Jr). She and her coterie of sassy sisters would dazzle "men, women, and those who haven't yet decided" in any setting: be it a dimly lit club or a retirement home. A chance encounter made Charlie realized that perhaps he could save Price and Son by filling an empty niche: towering high-heel women's shoes and boots, but made strong enough to support the weight of a man. Along the way, there are bigots to smack down, controlling girlfriends to confront, skeptical workers to persuade, culminating in a big show in Milan.

The songs written by Cyndi Lauper were rather forgettable. They covered all the bases: heartfelt solos, rousing ensemble, and given the characters, lots of upbeat "you better work" showtunes. The plot, taken from the 2005 movie, was equally paint-by-numbers. There was some inventive choreography on act 1 closer Everybody Say Yeah with the cast members dancing on the moving factory conveyor belts. Although the band O.K. Go did perfect that years ago in their video Here It Goes Again. Kinky Boots is a confection, sweet and fun, but you won't remember it after you leave the theatre.