Strong NotBad

On Saturday, there was a show at Smiling Buddha of mostly local bands. Because I was at The Garrison for another gig, I missed the first couple of sets (Feels Fine, The Mooks). I arrived just as Weakened Friends from Portland was taking the stage to a packed venue. This trio actually had a good number of fans because frontwoman Sonia Sturio also led defunct local band The Box Tiger a few years back. She seems to have found more success after moving to the US. Sturio still had the yowling vocals but the trio sounded more stripped down and with a harder edge than the previous outfit.

Howl

On Saturday, I was at The Garrison for 2 different acts within the dance-pop genre. First up was Vita and the Woolf. Their set, though reasonably interesting, wouldn't be quite as arresting if not for Jennifer Pague's huge voice on numbers like Bury You. It was as if Janis Joplin decided to do synth-heavy dance numbers. Headliner Yoke Lore's set also had plenty of dance beats, but combined with a folky vibe thanks to singer Adrian Galvin's penchant for the banjo. Unfortunately for both bands, the terrible sound system at this venue hampered their show although Pague fared slightly better.

Plink Plonk

Friday night, I was back at The Burdock for their Piano Fest. Unlike my previous visit, this one was more Jazz than pop. Chelsey Bennett was up first. With her tall frame, she could barely fit into the tiny space between the wall and the baby grand on Burdock's little stage. She played a mix of soul/jazz songs with both covers and originals. For her own compositions, she preferred prose-like lyrics. There were a fair bit of solos, which is not my favourite Jazz trope. The bass player kept the groove nice and tight instead of the obnoxious wankery you usually hear with 5-string basses, so that was nice.

Joanna Majoko's set was a mixed bag for me. She got a standing ovation at the end, which was deserved for her clean, clear singing voice. But the never-ending solos from her backing band were interminable. I might have gone into a fugue state at one point. She might be a "CD artist" for me, where the limitation of physical media keep tunes trim and efficient. But her exploration of the intersection of Jazz with her African heritage is an interesting mix.

Shawarma Redux

The Middle-Eastern shawarma joint at College and Dufferin has been replaced with ... another one called Lebanon Express. I stopped by on Friday to check them out. Their prices were higher than the usual, but the quality of the options looked nicer and better made. I got a chicken combo: along with my pilaf rice and chicken, I had the choice of two sides.

I sat down with my choice and enjoyed my lunch very much. It was indeed fresh and tasty. I've been back a few times for wraps and other options. This is a good addition to the area, but I'm not sure it will last. The fact that they don't have some of the items on the menu is not a good sign. This corner seems to be more of a transfer point for most passerby. Otherwise, they are here for Vietnamese food at Pho Linh or Pho Phoenix, the atmospheric Persian brunch spot Tavoos, or the gentrified coffee shops.

Fung Times

Wednesday night, I was at the Burdock for their annual Piano fest where they plop a baby grand on their tiny stage. As such, their music programming skewed toward acts with pianists for about 2 weeks. First up was Kelsey McNulty. I heard her in a duo with Dr. Ew in a noisy bar a few years ago. Tonight she interpreted a number of jazz/pop standards. Her own songs tended to be more bluesy.

Head-liner Kristin Fung played an incredibly high-energy set. As a piano player, she was excited to play a real one instead of a synth. But I think she's just naturally vivacious. Her joy at being on stage and playing music was infectious. You can't help but feel great with her beaming grins that never left her face. It also helped that she played up-tempo jazz pop like Man Is Optional and Why Don't You Dance. Her backing band kept that electric vibe going all night including flutist Ann Phung. This musician usually only guest spots for a song or two with other local bands, but tonight she also got to shine. With two Asian women front and centre tonight, a sad rarity in the music scene, it was fitting that Fung ended the night with Massive Stride, a "r-e-s-p-e-c-t"-style ode to smashing stereotypes.

Romancing The Bones

Wednesday night I was at the Burdock to see some new acts including headliner Kaili Kinnon. First up was her brother Liam. He sings typical pop/americana for his solo set though Explorers of the Don Valley evoked some fun memories for the locals. Chris & Nicole was a duo that shared equal vocal duties. Songs like Whispers in the Night and Nothing Left had sweet pop harmonies with a touch of country. Often in duos, you want to hear more of one singer but both were compelling.

I actually saw a young Kaili Kinnon in a French cabaret almost 8 years ago. She was studying Jazz at York University at the time. When she started singing, her rich voice had deepened even more. She also had a deft hand on the keys. Combined with groovy arrangements, it was a good set. Somewhere between actress Kathleen Turner and local chanteuse Charlotte Day Wilson. The only dissatisfaction was the average lyrics. They were so typical of any pop/r&b song that it was a bit of a let-down given the quality of Kinnon's talent.

Dance Like Everyone Is Watching

On Saturday, I was at the Next Stage Festival at The Factory Theatre for a dance recital entitled That F Word. Choreographed by SaMel Tanz, it was a large group of female dancers (mostly in their late teens and early 20s) from a number of dance troupes and schools in the city. F being feminism, it was a series of vignettes illustrating the negative attitudes, expectations, and obstacles imposed on women. The theme was humorously set right at the beginning when a dancer (dressed in a suit) was offered a full glass of water after a vigorous sequence while the "female" one was only given a half-full one. There was also a spoof of the typical shaving-for-swimsuit-season commercial. The soundtrack was a mix of pop, rap, and spoken word.

The strength of the show was also in some ways its drawback. Because there were so many dancers it was possible to highlight/choreograph numerous dance-styles from classical, to contemporary, to hip-hop (usually pop and lock). But it sometimes felt like an end-of-year talent show instead of a singular piece of work. Also, unison movement dominated the piece, more variety especially in partnering work would elevate this production.

Funny Haha or Funny Living Nightmare

Thursday night, I was at the Next Stage Festival at The Factory Theatre. Promising Fringe shows from the summer are remounted in a more professional setting to appeal to a wider audience. I was here to see Franco Nguyen's one-man show Good Morning Viet Mom.

Through the lens of comedy (Nguyen is a stand-up comic), some home videos from a few trips back to Asia, and personal anecdotes, he detailed his love-hate relationship with his mom and dad, racism, and poverty. It wasn't quite as enjoyable as I thought. This might sound callous, but the hard-scrabble life of a refugee or immigrant has been extensively chronicled in fact and fiction, and with more eloquence. So it would take something more to shed new light on the subject.

And Nguyen wasn't that person. He had an engaging personality and his comedy routines came across best, often soliciting big laughs. But his limited acting made the serious scenes amateurish. So I wasn't convinced enough to buy the hoped-for emotional payoff. Which is a weird phrase to use for autobiographical material. The length of the time, almost 50 years from his mom's teen-age years, was also too long. So much stuff was presented, it paradoxically made the play felt thin because it was all short fragments. The audience wasn't given the time to sit and absorb a situation.

This could be a good show if Nguyen could get an editor and humbly step away to let a professional tell his story.

Message To You

Monday night, I decided to try Rudy in little Italy. This small joint specialized in gourmet burgers though a bit cheaper than Burgertory down the street. While I was waiting for my meal, it looked like the majority of customers were pick-ups. Finally, my Rude Dude ($8.99) arrived with a side-order of coleslaw ($2.49).

My double cheese-burger was fragrant and tasty, a little bit messy from the sauce. The patty was a bit crumbly but not quite a sloppy joe. I appreciated the simple bun and not some brioche overkill. The slaw was also good but too small for the price. It's cabbage, one of the cheapest ingredient you can buy.