Biggy Jiggy Fitty Committee

Friday night, I was at The Danforth Hall for the 1st of 3 sold-out hometown shows for the all-female rock band The Beaches. With a capacity of around 1500 (4500 total), their popularity is not quite arena-level yet but getting there. Opener Valley played to a good-sized crowd. Though their fresh-faced enthusiasm got ironic smirks from some older concert-goers, the younger people at this all-ages event showed them some love. Their music was pop-rock but having modern influences with some electronica beats and crackles. I thought their drummer, Karah James, did great work keeping their songs varied and interesting. With enough people knowing the words to Swim and other songs,  signed to the same label as The Beaches (Universal Music), and having fans wearing custom-made jean jacket inspired by the cover art of their EP, it looks like Valley is also on their way up.

After their pre-requisite Avril Lavigne intro, The Beaches came on stage to loud roars. They launched into Snake Tongue, a recent hit about cat-calling misogyny and dick pics. These types of feminist anthems distinguished them from the cock rock bands of the past. But their mainstream popularity also rests on using those same musical foundation: propulsive drumming, catchy and repetitive refrain, wordless chorus, and chunky rock riffs or chords. Songs like Fascination and Money inspired plenty of sing-along and dancing. This updated take on arena rock continued on their latest EP, sometimes creating another incisive and fun hit (Want What You Got's nod to status envy) and sometimes a merely serviceable number (The Professional).

All members were quite comfortable strutting and prowling a large stage but Leandra Earl has fully embraced the rock star/David Lee Roth persona. Whether on guitar, synth, or the occasional lead song, she was all hair-twirls, leg-kicks, and jumps. The crowd was also approaching near stadium-level participation with even a girl or two being hoisted up on their friend's shoulders for the encore T-Shirt. No crowd-surfing yet, but in a few years this band will likely scale up to even bigger venues: a long way from playing rinky-dink bars with their parents as roadies.

The Battlefield Is Love

On Thursday, I was at The Great Hall for a sold-out charity concert. Organized by the Indigenous Music Summit, the aim was to raise money for a legal defense fund to benefit the Wet’suwet’en strike action against the oil pipeline. Loud cheers greeted the announcement that over $12,900 was raised even before tallying up the raffle and t-shirt sales. Over the stage a banner declared "Stronghold", protest posters hung throughout the space, and Indigenous flags were draped over the balconies.

After a smudging ceremony, several matriarchs blessed the proceedings with a Wet'suwet'en elder talking about what's been going on all last year on their land before recent events exploded nationwide. The Charging Horse Singers led several chant songs while jingle dancers moved in front of the stage.

Sarain Fox was the emcee for the night. She hyped up the musical guests, led the crowd in a round dance, encouraged people to buy raffle tickets, and outlined several follow-on activist actions that everyone should do. A young spoken word artist Zoe Pricelys Roy stunned the crowd with intense poetry. Serena Ryder, along with her best friend Hill Kourkoutis, opened with the a capella Nobody But You, got the crowd dancing with What I Wouldn't Do, and covered Emily King's beautiful Teach You.

Brenda McIntyre chanted The Healing Song before Witch Prophet (and DJ Sun Sun) turned up the electronic beats for surprisingly jazzy numbers Time Traveler, Moussa, and Manifest. Amanda Rheaume (with guests Robin Hatch, Skye Wallace) brought a bit of roots-rock with The Skin I'm In, Red Dress (dedicated to the missing and murdered Indigenous women), and Strongest Heart.

Veronica Johnny led the crowd with a spine-tingling group sing of The Strong Woman Song. Digging Roots brought the message home in rocking fashion with AK 47 (a gun that shoots love) and Spring To Come. Chantal Kreviazuk silenced the crowd with an a capella rendition of Feels Like Home before sitting down on the piano for Vicious. Rheaume joined her on Waiting For The Sun before Digging Roots came back to support Kreviazuk with the closer Feeling Blue.

Throughout the evening, several elders emphasized that we must keep our hearts open and full of kindness even if some may feel agitated to escalate the situation. One pointed out to laughter that change was the solution, not violence: to be "shift disturbers". Fox explained that the translation of the Indigenous phrase "We are the stronghold" was actually "The heart is a stronghold". But given past history regarding First Nations people and the ugly sentiment of many Canadians on display in real life and newspapers' comments, I can't help but think pessimistically of Audrey Lord's quote: "[T]he master's tools will never dismantle the master's house".

Four Chords And The Truth

On Wednesday, I headed over to The Burdock for the 1st night of their acoustic festival. There was some snow on the ground but the snowstorm was delayed. It was a full show with 8 singers on the bill but I only stayed for four. For whatever reason, all of them had a song that mused on both the fear and thrill of having only a finite time to live in this world.

Jason Anderson started with a long, discursive ode called El Paso. This song, along with a new number about a Midwest road trip through Climax, Michigan, were my favourite with their folk-pop and storytelling lyricism. I wanted him to move away from a reliance on end-rhymes. And I'm not as enamoured of his occasional foray into "white man screaming" mode.

This was my first encounter with Jessica Stuart's new koto that she brought back from Japan. It was a beauty. She did a few songs from her Jessica Stuart Few days. I was taken with the new Borrowed Time which found a great balance between some evocative koto playing and her richer, more resonant middle register. Stuart ended with a mash-up cover of Here Comes The Rain/Sunglasses at Night.

I haven't heard Sarah Cripps play in almost 2 years. She also admitted that she hasn't played live for quite some time. So we got some extra-sad rendition (courtesy of the "February blues") of songs from her last album: Charcoal Heart, Bones, and Leave Behind. There was still some propulsiveness to her playing but I miss that gothic meets yee-haw country vibe. Cripps also closed with a cover: Gillian Welch's "middle-finger-to-state-of-music-industry" Everything Is Free. I hope that's not why she hasn't been active lately.

Sabine Ndalamba was a revelation. Songs like Home, Just Because, and Already combined deft finger or flat picking, interesting chords and transitions, and a beautiful vocal range. An oldie The Rain Has Come showed how much she has progressed as a singer/songwriter. This young artist deserves to be more widely known.

As I left the venue, the storm had arrived with blinding sleet of snow coming down on empty streets. I might not have left my place if it came early. But I was glad I saw this fine show tonight.

Walking Wounded

On Tuesday, I went to Factory Theatre to see Marjarie Chan's Lady Sunrise, a re-imagining of Cao Yu's play Sunrise from 1936. Relocated to Vancouver circa 2008, it revolved around the lives of Asian women from all class strata. There was the main character, ex-model and current party girl Penny (Lindsay Wu) who worried that her looks were fading and her adopted "auntie", Tawny (Crazy) Ku (Ma-Anne Dionisio), a rich widower with a penchant for lost causes and get-rich schemes in Vancouver's condo scene. Ku's wealth was being managed by the driven Banker Wong (Rosie Simon), who had little patience for profligate spenders and do-nothing socialites. Additional women including black-jack dealer Li (Zoé Doyle), "massage parlor" manager Charmaine (Louisa Zhu), and Sherry, one of the girls who worked there (Belinda Corpuz) also wove themselves into a narrative about the pragmatic, often tragic, intersection of women and money. Everyone on stage tonight was the victim of trauma.

There were several scenes that knocked me back with their intensity. But the two main pillars of this play ultimately left me unable to fully connect with these characters. Firstly, almost every scene was a monologue. A character was either recounting essentially a flashback or if the scene was more or less "present-day", it wasn't "as it happens". As such, I never felt I was witnessing a visceral moment with real people who were actually there. Everything was an oral story, a series of memoiristic vignettes. Even if "show, don't tell" doesn't apply 100% to theatre, this was all tell.

Secondly, there was too much melodrama. Lady Sunrise's interconnected stories (à la Pulp Fiction/22 Short Films About Springfield) was turned up to the max. After a while, the coincidences and backstories that made these characters interact just felt forced. Perhaps if spread out and elaborated over a TV series, it would feel more natural. When compressed into a 1h45m play, the playwright's pen was often visible.

There was a good story at the core of Lady Sunrise. I like seeing more stories about POC on the stage. And I also know that, without a doubt, many women have suffered similar experiences in real-life. But I could not commit to this tic-tac-toe script.

Bits In Bites

On another beautiful Sunday afternoon, I wandered through the Trinity-Bellwoods area along Dundas St. W. I stopped off at Real Empanada for some lunch. A recent replacement of long-running Porchetta, they were offering an extra empanada with your 1st order. There was no menu as yet, but the choices were simple: fried colombian empanada with beef, chicken, or beyond meat. I would normally pick veggies options but I didn't want faux-meat so I got 2 chicken and 2 beef empanadas for $10.

The choice didn't matter as the stuffing was mostly potatoes and onions. If you didn't tell me what the protein was, I wouldn't be able to tell you. The yellow shell looked to be corn-based and wasn't as greasy as I thought given they were deep-fried. It was good but the corner and rim were too hard. The salsa was tasty but hard to extract from the tiny plastic sampler. You'd be better off buying a jar for $8.

I want to support local businesses but ultimately this wasn't a good deal. A single empanada would run you $4 which is only slightly cheaper than a baked one from Jumbo Empanadas. But the latter is 3 times bigger. In fact, even the 4 for $10 deal would still be about twice as expensive. In addition, the jumbo one is stuffed with actual meat. Finally, as a personal preference, I liked the baked version more. This was the second time I've had fried empanada (the other was at Tostado Cafe) and I'm not really a fan. If I wanted fried bite-size eats (with potato), a samosa is a better option.

Three Becomes One

On Saturday, I headed over to the King St E. and Parliament area for a dance recital at Enoch Turner Schoolhouse. I'm not a regular visitor so I noticed there's been changes since I visited Little Trinity church. There are more trendy boutique shops including Roselle Desserts.

The building was a free school in 1849 and has gone through many incarnations. It faced demolition in the 60s but was saved by local residents. It is now Toronto's oldest surviving heritage building. The main space had an airy vaulted ceiling. Apparently, it is used for catered events including weddings. Tonight, rows of chairs on three sides faced the center where the performers will dance.

Echo Chamber wants to combine contemporary dance with interactive live music. I had seen them at a public dance in Union Station. Tonight, they were using more modern music composition from Eastern Europe (Corigliano, Kodaly, Enescu). As such, there were hints of klezmer, Romani, and folk influences.

It was interesting to compare the 2 pieces and dancers. Though both pieces were contemporary, one was choreographed by principal ballet dancer Brendan Saye and the other by modern dance choreographer Hannah Kiel. Saye's piece, centred around a table with 3 chairs, was for his compatriots Naoya Ebe, Donald Thom, and Hannah Galway. The latter also danced in Kiel's piece with contemporary dancers Kelly Shaw and Ryan Lee.

With the use of props, costume changes, and repeating dance motifs, there was an underlying narrative to Saye's choreography: a story of familial conflict and loss. Kiel's was more free-form, letting the viewer project their own experiences into her movement. The ballet dancers were about straight, clean lines whereas the modern dancers used angled limbs and rapid, sharp transitions (likely inspired by hip-hop dances).

The interactivity between dancers and musicians still seemed a bit tacked on. It mostly involved a violinist walking toward a dancer, played for a bit, and then walking away. It felt more awkward mashup than true union.

Since the musicians were of high-calibre (mostly from Canadian Opera Company), there was a desire to highlight their playing especially on Enescu's Opus 7 for String Octet. But this meant long stretches of playing without dancing, which was unsatisfying for the dance aficionados. On the other hand, the music lovers in the crowd probably didn't love all that crazy movement interrupting their music either. I don't know if it's possible to truly add more interactivity without increasing, for example, accidents. But a more unified presentation would be more engaging. A step in the right direction could be something like this show with Australia's Circa and the Debussy String Quartet.

Bread and Citruses

I've been to dozens of live shows at The Burdock (Brewery) but have never sat down in their main space. It's very popular and packed almost every night. On Saturday, I decided to give brunch a try to coincide with today's release of a limited batch of specialty beer called Sea Barrel 24. According to their promo: "A blend of our choiciest 1-2 year old barrel-aged beer resting on sea buckthorns and orange wine skins with some riesling blended in".

A bottle came in at $15. It was an interesting taste and definitely lean toward tangy. Overall, it was an odd experience for me. One sip made my mouth pucker and I'd think: "too sour". Another sip and it was a nice blend between a stronger beer and a hint of wine.

There was no flip-flopping opinion for the shakshuka ($12). This is almost an umbrella term as restaurants offer different dishes. This one was similar to Little Sito's: tomato and onion based with baked eggs and feta. They sprinkled on a bit of dill, basil, and parsley. The sesame-encrusted bread arrived in a cloth cozy. All the flavour came together to make a nice balance that played off each other.

With tax and tip the meal was $36 which was steep for a light brunch. I don't drink partly because booze really bump up the cost of your going-out experience. Slightly buzzed from drinking on an empty stomach and still peckish, I wandered over to 241 Pizza to get a large veggie slice ($4).

It was just as pleasant sitting on a stone bench, feeling the sun on my face, watching people pass by on a busy Bloor St., and eating cheap but cheesy pizza. That bread was good though; somebody should make sesame pizza crust. Perhaps a middle eastern cross between lahmacun and barbari.

You Better Work

I haven't been to a Long Winter evening since they had a one-off at The Galleria Mall several years ago. With that mall finally torn down, I wanted to see how the festival was doing in its 8th year. So Saturday night, I headed over to its new location at Workman Arts.

This facility was an old church at Dufferin and Dundas St. W. In its previous incarnation, I had only known of it because there was a bus stop in front of the building. Since it was just north of the intersection where the main one was found, you had 2 transit stops located metres from each other. That secondary stop is gone and so is the elderly congregation that used it.

As I wandered through the church from basement to the top floor, it was amazing how much space was available. Below ground, surrounded by heavy curtains, was a large room where there was poetry reading and dance. In various nooks and rooms throughout the church, there were different art exhibits including multimedia projection.

The main hall looked to have been converted to a permanent live venue, though I haven't seen too many listings for shows here. Around the back, up a rickety flight of stairs (the railing was only loosely connected to the wall, and the steps creaked and flexed), I found myself in a room now belonging to the Roseneath Theatre.

While loud metal/rock music drifted up from Tongue Patrol and Scorpio Rising, I sat for a live podcast. Anupa Mistry, a cultures journalist recently moved back from NYC, had started Burn Out to talk to Toronto artists about how they maintain their passion in the face of economic and other challenges. Tonight, she was interviewing Backxwash from Montreal.

This "witch rapper" grew up in Lusaka, Zambia, emigrated to B.C. to study computer science, but finally decided to pursue their love of hip-hop via a one-way ticket to Montréal. She talked about her influences from mainstream (Notorious B.I.G., DMX), to less well-known (Papoose, Diabolic), and underground (Afu-Ra, Rico Nasty). Backxwash also detailed the challenges of being transgender not only within the hyper-masculine rap genre but even other "inclusive" shows. Mistry was an articulate host who drew out long responses with pertinent, contextual questions.

I saw two bands before heading home and leaving the evening to the mostly 20-somethings and teen crowd. I think the latter was hungry for all-ages shows which are no longer prevalent in Toronto. Korydor played heavy, loopy, psychedelic rock on the main stage. Upstairs, Lavender Bruisers (a new outfit by Kritti Uranowski) got feet moving with dance-friendly, slight jungle-y, beats and big vocals. Given the building's age and state of disrepair, I was wondering if things would hold up when the floor started undulating.

You Want To Go Where Somebody Knows Your Name

It has been several days of blue sky and sunshine. The pleasant weather held for the holiday Monday so I was wandering through the neighbourhood of Bloordale and Bloorcourt along Bloor St. (no surprise). The businesses are a mix of old stalwarts and newer gentrified entries. Of course, not all are hipster haunts. The appearance of franchises like Starbucks at Gladstone is also a sign of a changing neighbourhood.

On the side streets, sometimes there are also businesses both old (Ontario Giant Runt Club) and new (Buco Café). I've wondered how much traffic they get. For one such business, Mediterrania at Bartlett, I've lately seen a sandwich board touting ready-to-eat food. With signage claiming organic food, I thought it might be a newcomer. But when I stepped inside, it turns out this family shop has been around since 1967. They downsized in 2017 and left their corner location to a pharmacy. Looking over older Google Street views, I realized I have passed by throughout the years. But I don't usually shop at small fruit markets.

For this shop, their business plan seemed to be a steady stream of regulars on a first name basis, a collection of mostly shelf-stable foodstuff (cured meat, cheese, pasta, etc.), and possibly extra rental income (since the proprietor owns the building).

I picked a veggie lasagna ($10.67) for lunch. At the urging of the owner, I accepted a bonus meatball. It was a good mix of spinach, mushroom, and ricotta. But I thought the pasta could be firmer. The Italian shop-keep agreed with me and said that he himself made the regular lasagna. He has been thinking of also cooking the veggie one as well. Given the tastiness of the meatball, I concur.

He also confided that regulars can call 15-minutes ahead and he'll put together a simple pasta plate, guaranteed to be "al dente". Well, I'm not there yet but I certainly hope to become one, too.

Spill Some Tea

Sunday was another beautiful day so I decided to walk home from yoga class. On the way, I dropped into a shop on College St. called Dish. The motto of this long, narrow business is "cook. eat. shop." The back half of the building was a space for cooking classes (and eating your creations after). It is enclosed from the rest of the shop by clear glass doors. Today, it looked like they were making pasta.

The rest of the space sold cooking tools, prepared frozen food, jams, condiments, and other small perishables. There was a large display case for takeaway food. Looking over my choices, I selected a veggie burrito ($9.50) and a slice of apple bread ($2.50). The burrito was heated up and delivered to the communal dining table with a few sweet potato chips. It was good enough: slightly tangy sour cream, soft beans, buttery avocado. The only misstep was the inclusion of arugula. Its bright, grassy flavour did not blend in with the other ingredients.

The apple bread was disappointing. It was too sweet, even beyond the coating of icing on the crust. Most would find it normal, but I find store desserts usually overpower you with sugar and not highlighting other flavours. In this case, I could barely detect any apple at all.

Do Whop!

Saturday night, I was at The Paradise Theatre to hear U.S. Girls debut some new songs off their upcoming album Heavy Light. Given my first encounter of Marker Starling, I thought his Randy Newman-esque songs was an odd choice for an opener. But with a full band, his music turned out to be in the same 70s ballpark as the former's disco sound.

But I didn't really enjoy this retro throwback. It tried to groove, but there was too much of a Jazz lounge meets yacht rock vibe. Also, lyrics of High January, Fresh and Fair, Husbands, and other songs were insipid. I have mentioned previously about clunky songs that used on-the-nose rhymes. Combined that with a penchant for verbosity and each verse seemed more inane than the previous.

Meg Remy finally found success with her last album In A Poem Unlimited. But in interviews, she hinted that she might "retire" nevertheless, from both a decade of lofi album obscurity and reluctance to continue mining that disco shtick. So I was curious to hear if her new music has changed.

I was happy that her new (live, possibly touring?) 8-member band had equal representation with 3 women artists including Carlyn Bezic of Ice Cream. It was weird that her band was so dude-heavy before given the feminist and female-centred content in her songs. Tonight, these performers provided not only bass and guitar support, but also wonderful harmonies. In addition, I'm always happy to see the subtle but complex drumming of Evan Cartwright.

The first half, comprising of new songs (IOU, And Yet It Moves), had a church service feel complete with testimonial (provided by a man behind me who exulted superlatives after every song). Remy seemed to have crafted the new music to be woke 60s girl group with a touch of gospel. The lyrics continue to bite and dig.

The audience was enraptured throughout. But if any was itching to move their feet, the second half kicked off propulsively with Pearly Gates followed by several booty shakers. But Remy ended the night with an acapella rendition of 2010 Red Ford Radio (also reworked for the new album), hand in hand with her longtime vocalist Kassie Richardson.

Low Pan Pie

I found out that Toronto has a pizzeria called Big Trouble Pizza with 2 locations. Given this blog, I knew I had to visit the one in Chinatown. So on a mild, sunny Saturday, I made my way down to the Dundas St. W area.

It was actually inside the smallest of a collection of tiny houses sandwiched between two buildings near Sullivan St. Most of the space was taken by the kitchen so there was just enough room to stand and peruse the per slice display. The four plastic knee-high stools were more hopeful than realistic, as I can't imagine more than two could sit comfortably. In the summer, the little patio out front, if in use, could accommodate a few more people.

The signage had the neon colours with triangle motif from the 80s. The wall/counter mural was a Mad Max convoy across a Planet of the Apes wasteland. But the cars had pizza-related logos and the half-buried Statue of Liberty held up a pizza slicer. But don't try to tie this business to a certain movie, as this seemed to be a sore point with them.

Perhaps they feel the association would pigeon-hole them as kitschy. In which case, maybe don't name one of your offerings Kung Funghi. Which is what I got for $5.65. I actually quite like the slice. The thick cheese, truffle oil, portobello mushroom, and sprinkling of enoki mushrooms gave it a rich, earthy flavour. I didn't love the chili jelly. Its orange colour and slightly sweet aftertaste reminded me of the sauce you put on chicken balls at Chinese-Canadian restaurants. That's a piece of nostalgia I'll avoid.

Big Trouble positions itself as championing "Toronto-style" pizza with its crust. This meant a soft, chewy offering with a crunchier edge. At first, I was thinking a better Pizza-Hut pan pizza. Then I thought: "241 pizza" (at least my local spot). That's not a put-down because I just discovered the latter's addictive quality especially as a late-night bite.

So is BT the definition of Toronto pizza? The Globe and Mail has given that moniker to a collection of Vietnamese pizza makers including Vien Huynh of Fresca. A "city pizza" has to be immediately recognizable, and cheap enough for the masses. As such, I think that designation remains with Mr Huynh and friends, for their combination of garlic/green-onion oil and thin dough. BT is more similar to Maker Pizza, an upscale alternative to the thin-crust hegemony of Pizzeria Libretto and other "traditional" Italian joints.

That's What Friends Are For

This year's Valentine's Day started as a frigid Thursday evening and continued throughout all of Friday. But I braved the weather to go to Lee's Palace for Death To V.D. This was the first time the band-plays-as-other-band Death To T.O. event was taking place outside of Halloween.

The vibe was more friendship than romance tonight. Though there were plenty of couples, most people came with their friends. Some were even here as part of a birthday party. All the bands (and not just the "solo" artists) enlisted several musical buddies to help out. And with so many performers tonight, almost everyone in the crowd was a friend coming by for support.

Lea (Witchrot) and co (several musicians from local bands) formed a 9-member tribute to Patsy Cline. Like all bands tonight, they were not just playing the music but dressing the part. Clad in colourful Western wear, they gave us classic country (Walkin' After Midnight, Leavin' On Your Mind, I Fall To Pieces, Crazy). Robin Hatch and friends (including guitarist Tom Juhas) played a muscular Elton John. She was the only one that chose deeper cuts with Leon and a heavy All The Girls Love Alice (which given the subject matter made an odd toast to promoter Dan Burke). But Hatch also played Crocodile Rock and I'm Still Standing to get the crowd dancing.

For Jane went full 70s for The Bee Gees especially the 2 lead singers (along with a third) in head-to-toe white including flared pants. The audience loved Staying Alive seguing into Night Fever. For Jane showcased their harmonies on a romantic middle section: Love You Inside and Out, How Deep Is Your Love, and More Than A Woman. They closed their set with the high-energy Tragedy and If I Can't Have You.

Rapport was the most committed fashion-wise. Not only did the expanded band dressed in glitter and satin, but the addition of a blonde singer with red-headed Maddie Wilde (both in flowing, striped dresses) was going the extra distance. They set the mood by starting with the ballad Fernando before moving directly into Waterloo. The audience went even wilder with Mamma Mia and Take A Chance On Me. Dancing Queen was the obvious, and crowd approved, closer.

If Nyssa didn't get the same audience participation (by just a few percentage points) for George Michael, she gave a master class on stage presence. Leather-jacketed for Faith, she doffed it for the rest of evening. In jeans and a tight white undershirt, she wooed the crowd with Father Figure and I'm Your Man. Careless Whisper was peak 80s, complete with sax solo. And the final song Freedom! 90 delivered a full blast of awesome fun. The back-up singer added a lot to the set with her full-throated chorus.

It was getting on to 1 a.m., so I decided to leave on a high instead of sticking around for Mother Tongues take on My Bloody Valentine.

Your Song

Wednesday night, I was at The Tranzac for an early show featuring singer/songwriter Claire Whitehead (Carew, Blimp Rock) and Kelly McMichael (Rouge, Renders, The Band Called John). They have not only been touring together but are also room-mates, at least some of the time. It was interesting gauging my reactions to these performers. Both use fairly typical end-rhymes in their lyrics. Yet I enjoyed McMichael's songs while feeling a little frustrated with Whitehead's. It had to do with the genres they play with and how they structure their songs.

Whitehead dabbled in folk-indie with delicate chords. In that context, her regular cadence felt clunky. I wanted her to play with the form: manipulate the phrasing, use near rhymes, internal rhymes, and so on (see Tamara Lindeman). A lyricist who can write "When rain settles into earth/And bring these colours up to me" is certainly capable. When she sang in the pop-country vein with 2 songs from her upcoming "Thelma and Louise" rock opera, her lyrics fit better.

Meanwhile, McMichael's ability to craft punchy pop songs meshed well with her standard meter scheme from a Sheryl Crow-esque Stepping Stone to a touch of Tom Petty with Montréal. She can also do tongue-in-cheek (Nature Man). I missed her synth-pop vibe with her playing on the piano but with looped mic taps and finger snaps, McMichael added some groove to a few numbers.

Both performers sang back-up during each other's set. Overall, I had a good time tonight and am looking forward to new album releases from them.

That Thing You Doo Dat

After numerous Jazz sets, I've decided I don't like the genre much (as played live in the city) even I loved it long ago. The format of interminable solos seemed uninspired and boring in the 21st century. Also, typical Jazz venues require you to shell out additional money (ie, buying dinner) to get a good seat.

But I enjoyed the orchestral jazz of Marie Goudy so I headed down to the Rex on Tuesday night to check out her quintet. She has a month-long residency here with Adrean Farrugia (piano), Artie Roth (upright bass), Andrew Scott (drums), and her go-to singer Jocelyn Barth.

Luckily, the Rex has a reasonably priced menu of bar food so I ordered the tofu sandwich ($11). It came with fries which I only munched on as I was mostly full from Gyu Gyu Ya. The sandwich was all right except the kitchen didn't know how to prepare tofu.

The Goudy quintet played some songs (Winter, Autumn's Embrace) off her debut album Bitter Suite as well as several new numbers including The Friendship from an upcoming 9 movement composition. I thought Goudy's trumpet solos were the most evocative. Perhaps as composer she has lived with with these songs for such a long time that there was a deep understanding about them. The other performers came close on the blues-jazz The Show Must Go On (not the Queen number). Barth's singing was an odd beast. Like a lot of Jazz singers, she used her voice like an instrument. So it was technically precise and yet created a distance such that I don't feel the emotions underlying some of the lyrics.

Go Moo (Ca-Carrot)

The area along Dundas St. W around Bay and University was Toronto's first Chinatown. The city tore it down to make way for City Hall and also because of a legacy of Yellow Peril fear. In 2020, after the beach-head by Kenzo Ramen about 10 years ago, most of the restaurants here are Asian. So even if there was no Chinatown rebirth, a pan-Asian/Japanese vibe now permeates this milieu.

Tuesday night, after looking over my choices, I settled on Gyu Gyu Ya which offers donburi and Japanese curry. I will say that this spot isn't great for vegetarians. All their curries use a beef broth base (which explains the bull mascot in their logo), even the vegetable Yasai Curry ($10.49) that I ordered. Furthermore, the vegetables were close cousins to those that come out of frozen mixed veggie bags. Having said that, the Kanazawa curry itself was quite good and different from both Thai and Indian. It was thicker and had a slightly sweet undertone and mixed well with the rice. The thinly sliced raw daikon added some crunch.

If you ate meat, then the extra $2 or so for the meat dishes would get you some pork, chicken or beef cutlet with your curry. This seems like a better deal, especially for a quick dinner. That might explain why all the other diners looked like students, probably from Ryerson or the U of T residence on Chestnut St.

Gotta Slow Cook It Down

With 2 days of snow followed by freezing weather, I was ready for some warm stick-to-your-ribs food on Sunday. Despite years of living around the Little Portugal area, I have never tried the pork-and-beans stew called Feijoada. But a regular at my laundromat told me it can be found on the week-end at a Brazilian chicken joint just north of Dufferin subway station.

I knew right away the location, Stop BBQ Chicken at Dufferin and Hallam,  as I've passed by there before on my way to Porto Nova. It was larger than it appeared from the outside although most of the space was given over to the kitchen. There were a few tables but this was mostly a take-out joint.

A medium order ($15) got me a heavy container of rice, pork and beans, farofa (toasted manioc flour), and a side of veggie slaw (must be a local "Canadianism"). Overall, it was a disappointing meal partly because of my expectation. From the description, I thought it would be similar to pozole. But it was closer to a main topping for the rice. I liked the chorizo (or possibly morcela/blood sausage). Also, the manioc mixed nicely with the beans and rice and there were little salty bursts from the pork crackling. But the pork was mostly fat belly without much meat and so didn't impart much flavour. I also did not taste any beef despite the menu description. The dish reminded me a little bit of the jerk pork at Caribbean Queen. But the latter gives you more bang for your buck both for spice and amount of meat.

So generally it didn't seem worth it to break my plant-based diet for this. I'm debating whether or not to try again at one of the sit-down Brazilian restaurants along St. Clair West.

Ay Crow Ramble

During my classes last summer, I frequented numerous eateries along the strip. Schmaltz Appetizing (inside an old pharmacy) at the corner of Dundas and Ossington was a single visit because I found their bagel and cream cheese offering was subpar. It was surprising since the place was hopping every time I walked by. But it had a great instant-retro look, as if like the Lakeview Diner it had been in the neighbourhood for decades. During my order, I overheard that they were shutting down for another venture.

On Saturday, I stepped inside the new Gordy Smiles for brunch. I wasn't sure if the name was a nod to Canadian luminaries (Howe, Downie) or a Spanish wink (gordo = fat) to Antony Rose's other restaurants (Fat Pasha). They've removed the large deli display case to make room for communal park benches. There were 3 small tables by the window where the ledge seats were covered with thin faux hides.

The menu was Mexican so after a quick perusal, I settled on the Breakfast Gringas ($16). It was a good-sized dish of 4 griddle-fried flour tortillas. The top layer comprised of parsley, onions, fried egg, and a sprinkling of pickled condiments: beets, carrots, jalapenos. Sandwiched in between the tortillas were squash, charred onions, chopped bell peppers, and a bit of cheese. There was a selection of salsa from mild to hot including verde, roja, piquin, and nutty macha.

Overall, it was an average meal. All the ingredients seemed fresh, especially the condiments and salsa, but nothing gave you a distinctive flavour profile. I would have liked more cheese since the little bit I tasted elevated everything. There were no beans I can recall though it was listed in the description. The hand-made tortillas were good though, even if they did provide quite the workout in trying to slice them with a table knife.

It's Not Clear

My go-to Thai place is I'mmm in Little Italy. But recent bad service placed it on my 6-month embargo so I have been looking for a replacement. For Friday lunch, I stopped in at the oddly named Crystal Thani (Authentic Thai & Bar) at College and Manning. For about 12 years, this was New Sushi Island, the first Asian restaurant in Little Italy. I used to take my friends from Ottawa here before they got "fancy" AYCE sushi. For the last 2 years, a succession of signs went up (Southern Cookout, Jaffna House) but nothing opened.

The inside of Crystal Thani looked oddly "unfinished". I think they've left standing room for evening revels, though I doubt the bar crowd would converge here at night. During the day, it was a bit forlorn and empty.

Their lunch special option was simple: everything on the menu cost $12. I wonder if that applies to the more expensive fish dishes. In any case, I saw a few interesting Malaysian dishes and picked the Malay mixed roti with veggies (regular $14).

When it came out, I was first nonplussed as I was expecting an entrée like Kottu Roti. But instead of chopped, the roti were bigger squares almost like seitan sheets. Since they were fried, they imparted a rich, smoky flavour that came through the thick curry. The latter was creamier than thai curries but didn't carry any Indian flavour; its closest cousin is likely the Thai massaman curry but without the tangy tamarind. It wasn't an outstanding dish but passable.

Despite the lackadaisical waitstaff (what personal services am I tipping for exactly?), the lunch price will likely lure me back to try a few more items.

Epic Era Has Saha Recipe

My Groundhog day tradition, started accidentally some years back, include a snowstorm and a minor splurge at a "go-to" restaurant. It hasn't work out exactly like this with the restaurant Black Skirt being long-gone (without a suitable replacement) and the snowstorm usually arriving a few days early. But every year I do a close approximation.

This Sunday, on 02/02/2020, it all came together again. There was actually a snowstorm and so I thought about going to Osteria Rialto at The Paradise Theatre. The menu there would definitely involve a splurge and it was supposedly also a Southern Italian restaurant like Black Skirt. But from a recent search, I discovered that Chef Saha was still cooking Indian fare in the city. If Groundhog Day was about invoking familiarity and nostalgia, why not replicate one of my first Toronto experience from 20 years before?

Even back then, Saha was always looking to elevate Indian cuisine out of the ethnic ghetto. At tiny Biryani House, he expanded from a few stools by the window during my first visits to full table linen service later on. So I wasn't surprised that Spice Indian Bistro (officially Richmond St but the entrance is on Sherbourne) had a modern dining feel: open kitchen, banquette seating, and mandala-like symbols painted on the wall.

From the menu, I chose an appetizer Rajastani Shahi Kachori ($8.95) and 3 mains: Malabar Machhi Masala ($16.95), Madras Prawn Curry ($17.95) and Street-style Okra ($13.95). I also ordered 2 plain naan ($2.50 x 2). It was a lot of food but that just meant more left-overs for the week.

The appetizer was lentil pasties piled with colourful ingredients and some fried puri. It was a nice contrast between savoury lentils with refreshing sprouts, ginger, and sauce. Pomegranate seeds added little bursts of sweetness. It was a nice start to dinner.

The prawns were large, juicy, and had a good chew. It was a thicker tomato-based curry with a touch of spiciness. The fish was also good, but perhaps too delicate and mild to compete with the masala sauce. The okra was a dry dish, mixed with onions and sweet pepper, and had large chunks of firm okra. Tonight, it was rather an indulgent dinner and I was overwhelmed with too much richness by the end. But for a more typical meal, any of the dish would be excellent.

Before I left, I spoke a few words with the chef. It turns out the quizzical looks he gave me was from half-remembered recognition. Once I mentioned Biryani House, it all came back. But he grossly underestimated my age back then. Spice Indian Bistro goes on my go-to list and not just for Groundhog Day.

Edit: The leftover Malabar fish curry was outstanding with plain rice and steamed vegetables.

Comfortably Fun

Saturday night, I headed to the Bathurst and St. Clair area for a house party of an old friend. The residential areas here were new to me and although it was too dark for details, I noted some interesting features. It was a boulevard-style street, which for a residential street in Toronto usually means strips of greenery and trees between the sidewalk and the road, but here it was a true median. There was even a small roundabout at one end for some Continental flair. One side of the street had no sidewalks though, something I've only ever seen in the suburbs.

These large houses were mostly single family dwellings though I was glad to see that a few near the main road were converted to multiple apartment units (likely in the past) and remained so. One house seemed to have been turned into an unusual rowhouse-esque hybrid with all 4 doors clustered together at the front. With a ravine in the area, and some good retail on St. Clair including the relocated Lamesa with its tasty filipino cuisine, I might return here in the summer to do some more exploration.

The home may be of average size out in the suburbs, but for Toronto it was quite spacious. There were around 35 guests tonight. It was a different vibe than my usual haunts of bars and DIY venues. Certainly it was an older crowd, although there were about 10 people in their 20s. But mostly because they were professionals in tech, academia, medicine and so on. In other words, folks with actual careers and financially stable, not working the gig economy and sharing an apartment with 3 roommates. I ran into some old colleagues and "dinner party" acquaintances, some of whom I haven't talked to in 5 years or even a decade.

The hosts had laid out a generous variety of finger food including fresh fruit, cheese spread, and dips. Being an avid amateur baker, they also had numerous home-made desserts including cookies and chocolate truffles. While they manned the kitchen to churn out some hot food like battered shrimp and apple and grilled cheese toast, a hired bartender made delicious drinks for guests.

I sampled a little bit of everything. The grilled cheese was nice but the apple slices just needed a little more caramelization. My favourites were the strawberries, quite large and juicy for mid-winter, and the chewy Dirty Chai Earthquake cookies.

Feeling Me Softly

Friday night, I headed down to The Horseshoe Tavern for a show. Montreal band Sorry Girls had just started their set. It was dreamy-pop with the 80s flavour of vibrating synth chords, picked riffs, and  echoing guitar solos. Heather Foster had a pleading, "on the verge of tears" undertone to her singing. This was perfect as their songs were often about love found and lost: One That You Want, Give You Love. There were a few dance-friendly song including Under Cover.

My memory of the band Jaunt must be flawed. I remember their gig at Luanda House was full of dance bangers. But the dreamy vibe tonight continued with their set. For them, the throwback influence was soft 70s chill (Comfortable, Nostalgia For The Present Moment): slow pulse bass, ringing guitar, and falsetto choruses. There were already some background harmonies, but the recent addition of Caitlin Woelfle-O'Brien (Blunt Chunks) added soprano top notes. Almost a full co-vocalist, she usually accompanied Thomas Halliwell on some verses or act as a call-and-response. Upcoming album numbers like Obvious Answer showed that Jaunt can crank up the groove to get feet moving.

NBD vs BD

On Friday, I stopped at ND Sushi near College St and Brunswick. From the outside, it looked like your typical cheap sushi place. But looking over the menu, especially the chalkboard specialties like natto and salmon collar suggested that ND is aiming a little higher.
I ordered the Agedashi Tofu ($6) and a Lunch Tray ($16). The tofu came out freshly fried, sitting in a tempura-esque dipping sauce, and topped with seaweed and bonito flakes. I liked that the outer shell was thicker and crunchier than is typical. It made a nice contrast to the soft inside.

The tray comprised of pieces of spicy salmon maki, dynamite roll, yam tempura, and 2 salmon nigiri with miso soup and salad. ND used better ingredients. For example, they touted using Koshihikari rice. The salmon nigiri piece was thick and juicy. But the fine details weren't top-notch. The main problem was the rice was just slightly under-cooked resulting in a grittier bite. The shrimp tempura inside the dynamite roll was a tad soggy.

Unlike the similarly sized Shozan Room (for the street-level space), ND Sushi wasn't an unreserved recommend for me due to these missteps. I liked the quality ingredients but with the higher price, I expected better execution. So I'm on the fence about making it a regular spot.