Tracks on Tracks: The Third Day

We pull in (and out) of Saskatoon as day three began with more bustle in the morning, until the next stop in the small town of Melville, Saskatchewan where there was to be a platform show. The train was running late, however, so there wasn’t chance of a full show, but they opened one of the doors on a baggage car for newly acquired Shred Kelly to play a whirlwind set for nearly the whole town, including The Mayor!

The afternoon saw more cabin shows with Portage & Main and The Matinee, both stripped down. Portage took advantage of the setting and played some of their slower songs, like “Rocky Mountain Wanderer” (despite being in the middle of the prairies) and The Matinee crammed into the back of the Park Car, at the very end of the train. They had some assistance from Kiana Brasset on violin (and Grant Lawrence on woos) as they serenaded the car in front of the vast prairie landscape disappearing behind them.

The scheduled show at the Forks in Winnipeg didn’t quite go as planed. The train rolled in late making a much more rushed than anticipated; instead of the two-hour show, we were only in town for less than half an hour.

Chris Ho played a few songs, followed by an obligatory set from the appropriately named Portage & Main, including their rocking (and train themed) newer song “Sweet Darlin” 
It was then a game of hurry up and wait as we rushed back to the station but the train still wasn’t quite ready, so there were a few impromptu songs in the station; first Zach & Adrian, then Maurice and finally Lindsey Bryan.

We pulled out of The Peg and it was right back to the music with Shred Kelly rocking their self proclaimed “stoke folk”. Their great energy and enthusiasm was bolstered by co-vocals from the lovely Sage McBride and the blurry fingers of Tim Newton’s banjo picking, breaking a string in the middle of the set – which was immediately re-strung as the drummer and bassist filled the potential awkward pause. The wrapped up their set with “Tornado Alley”, which built to a huge, amazing ending.

Portage and Main was up next for another full out rock set, backed by Pete and Mike from The Matinee on drums and bass respectively. The banter between John and Harold was their usual self-deprecating joking; playing off each other well and the aforementioned train-themed “Sweet Darling” nearly blew the roof off the train car. They ended with a massive sing along to “Oh Caorlina” with the entire car belting out the chorus.

And The Matinee closed out the night in a way only they could, with another all out rocking set. They shook the train car as everyone stomped along to “L’Absinthe” and  “The Road”, using the walls of the train and random instruments for the usual drum breakdown, but they were urged back for one more, a cover (their third of the night) of Tom Petty’s “Running Down A Dream”

There were a few more scheduling glitches and some miscommunication the third day, and an illness that may have sidelined Sidney York from the rest of the train, but beyond that, it's still been one heck of a trip!

Tracks on Tracks: The Second Day

Day two began somewhere in the middle of BC, with some people decorating the Green Couch car and interviews aplenty as the Green Couch people and Grant Lawrence from CBC Radio 3 talked to a few of the bands.

The first performance of the day was in the afternoon,

Chris Ho

in one of the train cars as we were pulling in to Jasper. Chris was joined by Kiana Brasset and a couple other bandmates for a stripped down, but upbeat folksy set. After a few catchy songs, he wrapped up with an appropriate cover of a certain Aidan Knight song as the train pulled into the station.

The stop in Jasper featured a couple more platform shows as they got the green couch off the train for The Matinee and Sidney York to play a pair of acoustic songs each in the rain.

The Matinee

went with “L'Absinthe “ and “Sweet Water”, getting a lot of the passengers in the station stomping, and

Sidney York

got people bopping along to “Mile High Love” and “Dick & Jane”

Back on the train, car shows started back up with

Adaline

. Due to some technical problems, she didn't have a keyboard this time, but an acoustic guitar. She was a little nervous to just be playing on guitar, but soldiered on like a pro. Part way through her first song, a voice from the back of the car joined in, a voice belonging to

Adrian Glynn

, who joined her for the rest of the set. They harmonized on some of the songs they had worked on in the past, some of Adaline's and even one of Glynn's, and for “Whiter/Straighter” they went a capella and got those with rhythm in the car to snap and clap along.

With the intimate space of the last car on the train, and the beautiful scenery disappearing into the distance right behind them, it was a pretty amazing set, and definitely one of my favourites so far.

After some (delicious) dinner, Sidney York and The Belle Game were playing in a different car – they had four cars total set up for live shows; three smaller and more acoustic and one main Green Couch Car.

Sidney York

had the full band set up, and a lot of the folks who were on the train not knowing about the project happened by, and it seemed like a good number of them were won over by their enthusiastic and infectious indie pop. Even in a confined space, Brandi was bouncing up and down behind her keyboard and the band was rocking the train.

The Belle Game

was next, but as they were literally two notes in they blew the fuse, rendering half their equipment powerless. But they rolled with the punches and played an

entirely

stripped down set instead. “Sleep To Grow” started the set, and they were joined by the lovely ladies of Sidney York to add bassoon, oboe and french horn to the grandiose ending of the song. They were only able to play a few songs, due to the power issue taking up most of their time, but it was really cool to see them that basic. So far two of the best performances were born from equipment failures.

Later on in the night was a full set from

Maurice

 in the Green Couch car. People packed in, sitting on the floor for more of a rocking set from JP and his band, as opposed to the platform show from the day before. He played for about a half hour and ended with his cover of Fleetwood Mac's "Dreams", slipping in a couple fun top 40 songs; "Teenage Dream" and "Moves Like Jagger", all of which had everyone singing along as the train pulled into Edmonton and picked up the last of the bands, Shred Kelly.

And the day wrapped up, music-wise, in the best way it could have; a

Top Less Gay Love Tekno Party

. It's nearly impossible to describe the events of the set, but the Green Couch car was absolutely packed with people -- many of which were, in fact, topless by the end of the set -- and everyone jumping and dancing, shaking the car to the bands incredibly fun dancey pop sounds. There was a lot of singing and clapping along to songs, like their self titled "Top Less Gay Love Tekno Party", and they were even called back for one more song, a slower, quieter one to wrap up the night.

Tomorrow is another packed day with shows on the train from Shred Kelly, The Matinee, Portage and Main, a stop in Melville, SK and the big free show tonight at Winnipeg at the Forks; the only actual-venue show of the trip!

Tracks on Tracks Launch Party @ Electric Owl -- 05/09/12

Vancouver's Green Couch Productions have been hard at work lately, partnering with VIA Rail and CBC Radio 3 for Tracks on Tracks, taking music fans across the country on the rails. Starting from Vancouver, the music train will be heading east, picking people up along the way, and pulling in to Toronto just in time for NXNE.

Not only will the train be packed with music fans, but bands as well, playing acoustic sets on the train and a few electric platform shows in select towns. Green Couch hand picked a few bands to make the trip; Adaline, The Matinée, Portage & Main, Maurice, Top Less Gay Love Tekno Party, and The Belle Game, and listeners of CBC Radio 3 took part is a giant online poll to select the final three; Chris Ho, Shred Kelly and Sidney York. And if that wasn't enough, CBC Radio 3's own Grant Lawrence will be making the trip, broadcasting his show from the rails.
And to start things chugging along, they threw a fund raising launch party at the Electric Owl.

Kicking off the night was an acoustic set from The Matinée. Matt Layzell, Matt Rose, and Geoff Petrie atop stools started off with their usual opener, "L'Absinthe" and Layzell monologuing in the middle of the song about the story behind it, and their excitement for the train. The short set also included a few new songs, including "Young & Lazy", which had the band channelling some heartland-rock for an amazingly catchy song. After a couple more, including a cover of Ryan Adams' "Let It Ride", they brought their set to an end with the rollicking "Sweetwater", which is going to be a fantastic sing-along song for the train.

Next up was Good for Grapes, filling the stage with people, and instruments like horns and keys and an accordion. Despite being from Vancouver, they have a very Maritime-folk sound, with that clear Celtic influence. They began with an instrumental, an intense sonic assault, and they didn't let up for the rest of the set. Even though there wasn't much banter or talking, the young band had a fantastic energy on stage  -- especially the accordion player, who couldn't stand still for a minute and was hollering the lyrics without a microphone. While the set felt like it may have gone on a little long, it was still highly enjoyable and their enthusiasm was very infectious.

And wrapping up the night, Portage & Main, another band will be making the trip on the train, and were visibly excited for it. They kicked off the high energy set with the opening two songs from their self titled debut, "Nothing" and "What Have I Done?", and were firing on all cylinders from the beginning. It's hard to imagine they've only been a band for a year, as John Sponarski and Harold Donnelly have such a great chemistry together, playing off each other (both musically and personality-wise) perfectly.
One of the highlights of the set was definitely "Sweet Darling", a fantastically intense and raw dirty blues-rocker, and they wrapped up the night with their usual set-enders; first "I'd Never Climbed a Mountain", which starts soft and builds to a great intense ending, followed by the bar-room sing-along "Carolina".
If this night was any indication, the train trip is going to be a hell of a ride.

If you want to help support Green Couch, you can do so at their IndieGoGo page; donations will grant you everything from a simple "thanks" to t-shirt to postcards from the road to associate producer credits for the film.
And, most exciting of all, if you're not on the train you'll be able to live vicariously through this blog. Because I will be. And I'm sure I'll be bringing updates from the rails, whenever possible.

The Matinée @ Commodore -- 04/04/12

With festival season fast approaching, we're starting to get a glimpse of what is going on and who will be where. The other day Live at Squamish had a big party at the Commodore with The Matinée and Current Swell to unveil who will be joining them on August 24th through 26th up at the Logger Sports Grounds and Hendrickson Fields.

The Matinée was up first, drawing everyone into in immediately by getting the growing crowd to stop and clap along to "L'Absinthe", building up an energy that would just build throughout the set. As well as older favourites like the interminably catchy "Let Her Go" and the great sing along "Sweetwater", they teased a new album with some new songs, including my favourite "ScooterFruit" (thankfully a working title) that explodes into massive ending, with the band rocking out and some great shredding from Matt Rose & intense drums from Pete Lemon. The other stand-out new track was called "Young and Lazy", that instantly grabs you, with a classic roots-rock feel that will no doubt be a huge song for them. I'm calling it now: if it's released as a single in time, it'll be the song of the summer.
They ended off, as they do, with "The Road", including the great breakdown which had every member pounding away on the drums, and the entire room stomping along. As usual, it was a great, high energy show from the band, and I already can't wait to see them on the big stage in Squamish.

Unfortunately, I had to skip out on Current Swell, and the lineup unveiling, due to another show (seriously, it seemed like everything was happening Wednesday night), but the lineup looks like it is coming along nicely; Tragically Hip and City and Colour are the big headliners, which I think is a good pair (even if I'm not that big a fan of City & Colour) and it's got a pretty solid lineup all around. Some bands I am definitely looking forward to include Plants & Animals, The Rural Alberta Advantage, Kathleen Edwards, Mother Mother, and local favourites like Rococode, Maurice, Wake! Owl and The Matinée. They've also got The Sheepdogs, Lights, Chromeo, The Airbourne Toxic Event, and more rounding out the lineup, promising that there will be at least one or two bands for everyone.
It's a pretty good lineup overall, but I think they need at least one more bigger "name" as a draw. But don't get me wrong, I will definitely be heading up there for the weekend, as the last two years up there have been an absolute blast.

The Matinée @ Venue -- 02/18/12

One of my favourite things to come out of last year's Peak Performance Project was the discovery of The Matinée. I've always had a soft sport for roots-rock and alt-country -- which is odd, since I don't really like "actual" country music -- and I was won over by The Matinée two songs into the first time I saw them live. So there was no way I was going to miss their first show of the year, that was apparently also their first headlining show in Vancouver (which seems surprising).

Starting off the night was current Vancouver buzz band Good for Grapes. With over a half dozen members on stage, they had a rich, lush sound that was folky, with a little bit of a maritime edge to it.
Though there wasn't too much banter between songs, but they had a great dynamic and enthusiasm, especially the incredibly animated accordion player.
Their set seemed too short (also because I missed the first little bit of it) and I will definitely be looking out for them again, hopefully soon.

Washboard Union was up next, who, full disclosure, I had seen years ago as Run GMC and didn't really care for, so I had a bit of a bias going in. Their sound could almost be described as "shit-kicker country", with a very down-south and almost bluegrass feel. And true to their name, they had a washboard out for a few songs to accompany the banjo, fiddle and the rest. While it was a little bit too two-stepping-country for my tastes, they definitely were not bad, as they were all good musicians with great energy. And if the crowd stomping along was any indication, I may have been in the minority.

Not long after -- curfewed shows always run like clockwork -- The Matinée took the stage, kicking it off with "L'Absinthe", with the charismatic Matt Layzell giving us the back story mid-song to get the crowd riled up before "Sweetwater", which had everyone stomping and clapping along. They definitely know how to work a crowd, and they had most of the room in the palm of their collective hands from the beginning.
There were a few new songs throughout the set, including a soft one that had everyone gathered around one mic for group vocals, and one called "Scooterfruit" which was the exact opposite; a huge, rocking song that exploded into an amazing ending that sounded like the band was channelling The Who -- especially drummer Pete Lemon. That led into a pretty spot-on cover of The Tragically Hip's "Grace, Too" and they brought it all to a head with "The Road", with the usual insane drum breakdown seeing every member on drums, and ended with Matt Rose putting on a guitar clinic.
But of course, that wasn't the real end and they were back for one more, just for good measure to cap off the night before Venue was turned over to the shiny shirts for the night.

And the final tally at the end of their set was: three bras thrown on stage, and two pairs of comically oversized underpants.