Peak Performance Project Showcase #4 @ Fortune -- 10/10/13

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands each a year and makes them stars. Past winners are We Are The City, Kyprios, Current Swell, and Dear Rouge with a ton of great bands and artists included as well.

Part one of the project was a "rock & roll boot camp" where the musicians went on a week long retreat to get lectures and advice from industry pros, to help them refine their craft. Phase two is a series of shows at Fortune Sound Club; four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project. They've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and it's always interesting to see who each act chooses, if it's someone obvious to their style, or something way outside the box.

Starting off the penultimate showcase was Victoria's Dougal Bain McLean. Occasionally a solo performer, Dougal came out with a full band to fill out his pop-rock sound. His songs were catchy, but what drew me in most was his voice; that kind of gruff-yet-smooth voice that sounds like he drank a bottle of whiskey before the show.
After a few tunes, including the jaunty "Camino", he traded his guitar for a violin for a couple songs. The first of which was actually my favourite song of the set; it had a greater intensity than the rest of the set, and made me wish he was on the violin more often. It definitely set him apart from some of the other singer/songwriters in the competition.
Staying on violin, Dougal went for more of a "modern classic" with his cover, a nice version of Patrick Watson's "Adventures in Your Own Back Yard", and he ended the set with the most high energy song of the night.

Coldwater Road took the stage next. The five-piece from Vancouver have kind of a pop-folk group, with split male/female vocals. They also had a cello to round out their sound, and a drummer that would occasionally swap out for guitar.
The band gave off kind of a fun, goofy vibe for a lot of their set, without being too silly or cheesy. Songs like "Seven Letters" were playful and perhaps a little tongue in cheek, though but they had a couple other, slower or more serious songs.
I thought for sure their cover was going to be something by Barenaked Ladies, but I was wrong and they went with a version of "5 Days In May" by Blue Rodeo.
They were a perfectly fun band to see live, but I don't know if I'd be going out of my way to hear more.

Next up was Bodhi Jones, for an unprecedented third time going through the project. He took part in the first and second years, and -- after a brief retirement from making music -- is now back this year. I said before I had a few biases going in to the shows this year, and Jones was one of them. I have never been much of a fan, but I tried to go into his set with an open mind.
He is by no means a bad musician, and he surrounded himself with great local musicians for his backing band, but his songs fall a little flat. None of them really seemed to "pop" to me, and some of the lyrics were a bit cliché. But he's definitely comfortable on stage and has a good presence, and seems to have a loyal fan-base.
Bodhi also chose to go more modern with his cover, "Weighty Ghost" originally by Wintersleep. He had people singing and clapping along at the end, which lead into his last song of the night, giving his set a big, grandiose finish.
Oh, and a couple songs in he had someone, whose name I didn't catch, come out and do a short rap/slam poetry. Which seemed a little out of place.

And finally, Lions In The Street wrapped up the night. They took the stage backlit, and stayed in silhouette for most of their set, with everything cranked up for the loudest of the showcases thus far. The four-piece had loads of energy with a swampy rock sound, though there wasn't much variation to their songs. I wasn't surprised to find they were a previously in Fox Seeds, as well, since they sounded like they would have fit in perfectly to that annual competition.
They kept up the same intensity and loudness throughout their entire set, including their cover as they added to the Neil Young count, going with a deep cut "Everybody Knows This Is Nowhere"
The band is ten year vets of the business, and that certainly showed on stage, but for whatever reason their set just didn't click with me.

And that almost does it for this year's Peak Performance Project showcases. Next week will be the final one featuring Hannah Epperson, Amble Greene, BESTiE, and Oh No! Yoko.

Peak Performance Project Showcase #2 @ Fortune -- 09/19/13

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands each a year and makes them stars. Past winners are We Are The City, Kyprios, Current Swell, and Dear Rouge with a ton of great bands and artists included as well.

Part one of the project was a "rock & roll boot camp" where the musicians went on a week long retreat to get lectures and advice from industry pros, to help them refine their craft. Phase two is a series of shows at Fortune Sound Club; four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project. They've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and it's always interesting to see who each act chooses, if it's someone obvious to their style, or something way outside the box.

Starting off the night was Vancouver folky singer/songwriter Lydia Hol. Her and her backing band -- whose dress code was "meet the parents" -- included Mike Fraser on violin and Georges Couling on keys. With Hol's occasional mandolin, it gave the folk songs a rich sound.
She had a really nice voice, smooth and strong, with good songs, but nothing really stood out. It was an enjoyable set, but there wasn't anything that made me clamour for more.
Members of Head of the Herd came out to help Lydia with her Classic Canadian Cover, a pretty straightforward version of The Tragically Hip's "New Orleans Is Sinking", and she ended with a big sing along, handing out a tambourine into the crowd.

Next up was a trio of musicians who go by The Lion The Bear The Fox. All three of them had solo careers, to various degrees of success, but Christopher Arruda (the lion), Cory Woodward (the bear), and Ryan McMahon (the fox) joined together for something much more than the sum of its parts. Their set began with a funny introductory video, and began with a mighty roar as they launched into what may best be described as "stomp rock".
Though technical difficulties after the first song slowed things down, the trio vamped and covered well enough that they didn't completely lose momentum -- the charismatic Woodward talked and joked with the crowd before requesting a danceable beat from their drummer -- and before long they were back in the swing of things.
The trio had great harmonies, their voices blending together really well, and they had my favourite cover of the; they started off with Arcade Fire's "Wake Up", but swerved into "Hand In My Pocket" by Alanis Morisette. Previous years, other bands had done medleys, but this was the first time I had heard a mashup, which was a really interesting take. By the end, they had most of the crowd singing along to both songs.
After their cover they ended with a pair of hugely energetic numbers, "Freedom" and their cover of Ray LaMontagne's "Henry Nearly Killed Me"
I have to say, I have been pleasantly surprised by the trio, and I hope they do well in this year's competition.

Vancouver's Rolla Olak was up next, joined by some familiar faces; namely John Sponarski and Erik Nielson to round out his band, and Lydia Hol came out to help him on vocals for a couple of songs. He had a boot stomping, bluesy folk sound, and a clear passion, but he was lacking a bit in stage presence.
For his cover, he chose to "take back" the Brice Cockburn classic "Lovers in a Dangerous Time" from the Barenaked Ladies, for a solid cover; you could tell it was a song close to his heart.
Near the end of the set he invited all the other musicians on stage -- some from bands partaking in the project, others who just happened to be in the crowd -- for another big singalong, getting the crowd into it too. That wasn't the end, though, as he finished with one last song, a fiery blues rocker.

I fully admit, going in to this year of the Peak Performance Project I had some biases. Bands I already knew I did not care for and bands I was already a fan of, and Rykka definitely fell into the latter category. I liked her when she first went through the Project the first time, under her real name Christina Maria as a folk-pop singer/songwriter. But she has since reinvented herself with a more dark, synthy electro-rock sound, and is all the better for it.
Rykka's incredible voice drove the catchy songs like "Blackie" -- which relied on Rykka thumping her chest to get the vocal effects rather than any electronic trickery -- and "Shotgun" which she got the crowd singing along to.
Her cover was a synthed up version of The Guess Who's "American Woman"; of all the bands that night I would have expected a Guess Who cover least from Rykka, and her version perfectly straddled the line of making it her own and not straying too far from the original.
The set came to an end with the very appropriately titled "Electric", perhaps the most high energy song of the night, ending the showcase with a bang.
Rykka had a great confidence and energy on stage, putting on the best showcase I have seen so far this year; I will be very surprised and disappointed if she does not at least make the top three.

Overall, it was a strong night of showcases; it would be hard pressed for another one to be as "all around good" as this one, but they'll have to give it a shot next week with Luca Fogale, Fallbrigade, Van Damsel, and Good For Grapes.

Peak Performance Project Showcase #1 @ Fortune -- 09/12/13

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands each a year and makes them stars. Past winners are We Are The City, Kyprios, Current Swell, and Dear Rouge with a ton of great bands and artists included as well.

Part one of the project was a "rock & roll boot camp" where the musicians went on a week long retreat to get lectures and advice from industry pros, to help them refine their craft. Phase two is a series of shows at Fortune Sound Club; four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project. They've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and it's always interesting to see who each act chooses, if it's someone obvious to their style, or something way outside the box.

Starting off the night -- and the showcase series -- was Vancouver's Melissa Endean, who has the distinction of having the first all-female band in the Peak Performance Project history. Her strong voice and sultry passion on stage (and also maybe her backup dancers) immediate captured the crowd's attention, and her sound was fleshed out with the addition of a violin and keys in her band.
The highlight was a song called "Enemy" which more that showed off the raw power of her voice, and for her Canadian Cover, she chose an appropriate song for both her sound and attitude, "Lucky" by Bif Naked; a strong cover of an already gorgeous song.
Based on what I had heard -- the one song that The Peak was playing -- I was very pleasantly surprised by her set. Much better than I thought she would be.

Next up was Towers and Trees from Victoria. They brought a big, folksy, anthemic sound with lots of opportunities to sing or clap along, and were definitely having a blast on stage. Their energy was infectious as they got the crowd into it. Most of the set was filled with similar songs, though there was one gospel-inspired song part way through, with the highlight being "Montreal" (and not just because if may contain a subtle Doctor Who reference in the lyrics).
Despite teasing a little Hey Rosetta! early in the set, with "Red Heart" slipped into a song, their Canadian Cover ended up being"Crabbuckit" by k-os. I am always impressed when a band can take a song so far out of their wheelhouse and make it sound like their own; and Towers & Trees definitely did that, walking that find line between staying true to the original and making it their own. Probably my favourite cover of the night.

The night moved right along with Greg Drummond up next. The Port Moody singer/songwriter also had a big band with him, instruments like stand up bass and accordion rounded his sound out. His set wasn't by any means bad, but nothing really set him apart from the myriad of other singer/songwriters. Nothing really stood out, either good or bad. Drummond and his band are good musicians, and he had a strong energy, getting the crowd to clap along a couple times and even going into the crowd
He dedicated his Canadian cover song to Jay Smith, the guitarist from Matt Mays & El Torpedo who passed away earlier this year, and launched into "Tall Trees". It was a nearly spot-on cover, not straying much from the original.

And finally, wrapping up the night was Willhorse. The four piece rock band from Golden was joined by JP Maurice, who is no stranger to the Peak Performance Project, and from their first song they hit the proverbial gas and never looked back. Their dirty, swampy rock sound may not be anything revolutionary, but they do what they do very, very well.
Amid the high energy songs, they took a moment to bring it down when part way through the set, the band took a break for lead singer Jeremy Borschneck to start a song solo, only to kick in and join him at the end.
They had fellow PPP member Lydia Hol out to help them with their cover of "Poets" by The Tragically Hip -- which was a solid rendition -- and another past Peak Performance Project person joined them for their last song, Matt Rose of The Matinée shredding on the banjo.
They played right up until their time limit, even having to cut their last song -- either they weren't watching the clock close enough, or it was a shrewd move to get the crowd clamouring for more (which they certainly were).

The night was a strong start to the showcase series, and it'll keep right on going next week with Lydia Hol, The Lion The Bear The Fox, Rolla Olak, and Rykka.

Peak Performance Project Showcase #5 @ Red Room -- 10/18/12

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands a year and makes them stars. Past winners are We Are The City, Kyprios, and Current Swell with a ton of great bands and artists included as well.

Part one of the project was a rock & roll boot camp where they went on a week long retreat to get lectures and advice from industry pros to help them refine their craft. Phase two is a series of shows at The Red Room, four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project, and they've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and I am definitely looking forward to see who each act chooses (and, as in the past, I am going to keep a running tally on how many Arcade Fire, Neil Young or Leonard Cohen songs we get).

The final showcase of this year's Peak Performance Project, it was a bit of a bittersweet night. The Red Room was packed with fans and other musicians alike, all soaking in as much as they could, like the last days of summer camp. It was also a showcase I was looking forward to, with three acts I haven't heard as much as I'd like from, and one of my favourites from this year's crop of bands. 

Mike Edel: I missed the first couple songs from Mike Edel (the Red Room is notoriously slow letting the large lines in), but luckily caught the majority of the set. He had a few familiar faces in his band, Colin McTaggart on guitar and Kiana Brasset on violin & helping out on vocals. With a bit of a low key, folk driven sound, his set was good, and he has well written and heartfelt songs, but I didn't think there was much to set him apart; either from the rest of the top twenty, or from his genre.
He chose "Heart of Gold" from Neil Young for his cover, which was a fine interpretation, and just when I was thinking he needed a bit more of an edge, he wrapped up with the two most dynamic songs, "The Country Where I Came From" and "More Than The Summer". The former starting soft and slow and burst into an energetic ending, and the latter keeping that energy up; a good pair to end off on.
(Disclaimer: I have considered that, since I missed the beginning, I started in a bit of a mid-set-lull, which was the basis my opinion)

T. Nile: With a banjo in hand, a sharply dressed band, and a large parasol at the back of the stage with images and videos projected onto it, Tamara Nile took the stage for her set. She had a darker folk sound, with a bit of an electronic tinge, and a strong voice to drive the songs. She is definitely a good musician, but I didn't think anything really stood out from the set; it could have been that the Red Room can be merciless to the acts that sway on the folk or quieter side, but I didn't find myself drawn in. 
She brought out Graham Madden from Tough Lovers to help out with her Canadian cover, Byran Adams' "Cuts Like A Knife" (which has shown up in previous years) and ended the set with her current Peak-single, "Running", which was a good example of her electro-folk sound, and my favourite of the set. 

Dominique Fricot: No stranger to the Peak Performance Project, Dominique Fricot was in the first year as part of The Painted Birds. But now Dom has struck out on his own and is in this year as a solo act, backed by a band with some notable Vancouver musicians. The main members included Rob Tornroos on guitar & Niko Friesen on drums, and he also had Hilary Grist helping out on backup vocals and members of Four on the Floor on strings for a few songs. 
There are a few bands or musicians this year that I thought have been talented, but just need that extra edge, or just a little something to set them apart, and Dom is one of them. He has a great stage presence and charisma, and you can tell he pours his emotions into his songs, but they just need a bit of a kick to set them apart. 
His sound has a strong 90's alt rock influence, and there were a few songs, such as "Burn and Start Over", that were quite catchy. He didn't stray too far from that 90's influences with his cover of "You Don't Love Me" from Philosopher Kings, which featured Adaline out on backup vocals. The duo's voices mixed very well together, and Dom was at his most outgoing and energetic on stage during the cover. 
That being said, Fricot does have a certain appeal, with huge supportive fan base (which is well deserved) and I would not be surprised (or disappointed) to see him in the top five. 

Portage & Main: I've made it no secret that I have clear favourites in this year's competition, and Portage & Main was one from the get-go. They've been my pick to win it from the start, and their set just strengthened that opinion. The folk-roots-rock band kicked off in high gear with the rocking "Sweet Darling" and hardly looked back.  Even with some of the slower songs, they managed to keep up a high energy, especially both John Sponarski and Harold Donnelly, who play off each other so well.
Their cover was another Bryan Adams tune, "Summer of '69", which was not really a bold choice, but a good interpretation, slowed down and rootsy, more geared towards their style; and they had a good chunk of people singing along with the chorus. 
They brought the set to a big ending, inviting nearly everyone involved in the PPP on stage to belt out the chorus of "Oh Carolina" -- as well as the crowd -- for a huge singalong, and a great showing of camaraderie for all the bands. Some of the musicians even didn't want the experience to end, staying on stage chanting "Oh Carolina" after the band was done. 

And with that, the showcase series is over. Now is when the the business side of the competition kicks in, with the bands each having to write a business report -- showing it's not just about how well the musicians play, but how industry savvy they are as well, There is also the voting process, which counts towards their "final grade". So head over to the Peak Performance Project website to vote for who you think should take the top stop, and cross your fingers. The top five will be announced on November 1st, and the top three will play the grand finale on November 22nd at the Commodore, to find out who wins $102,700.

Peak Performance Project Showcase #4 @ Red Room -- 10/11/12

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands a year and makes them stars. Past winners are We Are The City, Kyprios, and Current Swell with a ton of great bands and artists included as well.

Part one of the project was a rock & roll boot camp where they went on a week long retreat to get lectures and advice from industry pros to help them refine their craft. Phase two is a series of shows at The Red Room, four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project, and they've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and I am definitely looking forward to see who each act chooses (and, as in the past, I am going to keep a running tally on how many Arcade Fire, Neil Young or Leonard Cohen songs we get).

The penultimate showcase was another with mostly bands I was unfamiliar with, so I was looking forward to what the unknown-to-me bands had to offer. Every year of the project I've discovered at least one or two new bands that, while they had varying success through the project, ended up being a personal favourite of mine. 

Georgia Murray: After a bit of a long instrumental intro, Georgia Murray took the stage with a band comprised of a few familiar faces and PPP-vets; Tim Proznick (Kyprios) was on drums and Ashleigh Eymann on backup vocals. Murray had a bit of a soul and R&B tinged rock, with a warm stage presence and a strong voice, but a lot of the songs blended together and sounded a bit the same. Though one did stand out, "Never Die", which sounded like it would have made a perfect James Bond theme.
Alanis Morissette made her second appearance in the showcase series as Georgia covered "You Oughta Know", which was a good, but pretty straightforward cover, and she ended the night with a bit of a slower and sultry number, "SRH".

Tough Lovers: A last minute replacement this year, after another band dropped out, the four-piece from Ladner had a bit of that mid-00's indie rock sound with a retro twist. With a great energy on stage, Tough Lovers have some pretty catchy songs, but they didn't really stand out from each other. Even their cover,
a very fitting and fun version of Paul Anka's "Put Your Head On My Shoulders" (which actually wasn't the first time that song was covered in the PPP) blended in with the rest of their set. That didn't make it bad, though; it was definitely an entertaining set, and were quite fun to watch live. But they're still only a couple years old, as a band, and they just need to keep at it, to "find their sound" so to speak. And I, for one, will be interested to see how they grow.

Fields of Green: When I saw Fields of Green in last year's competition, I thought they'd have a good shot at winning... if they entered the next year. And here we are, one year later, with the Kelowna quartet back for another go. Their synthy prog-rock sound has indeed matured, and they've grown as a band, with a wildly energetic show; especially Johnny Jansen, who is the most fun drummer to watch, seemingly flailing erratically, pounding the skins with wild abandon -- but without being sloppy in the least.
With songs that swirled to psychedelic crescendos, burst into explosive endings, and feature some nice harmonies, they created an intricate yet catchy sound.
For their Canadian cover they did a pretty good job with April Wine's "Say Hello" and wrapped up with their current Peak single, "The Do Nothings", another highly energetic and rocking song.
I think they definitely have a well deserved shot at it this year, and I wouldn't be at all surprised if they end up in the top five.

The Gay Nineties: I had heard a lot of buzz and good things about The Gay Nineties before the show, so I was equal parts in interested to see them and apprehensive that they wouldn't live up to the hype. They started the set with a sheet up across the stage and an old movie playing on the screens with a musical number about "the gay 90's" before the curtain dropped and they launched into "In and Out of Style". I was immediately struck by their amazing energy and presence on stage; they were a well oiled machine with hints of psych-rock and grunge in their incredibly infectious rock. And both guitarist Parker Bossley and bassist Daniel Knowlton -- who share vocals -- had a great charisma, with a great back & forth, playing off each other really well. They broke out "Hot Child in the City" from Nick Glider for their Canadian cover, matching the energy of the rest of their set, and ended the night with a bang, with a song called "Handle It All"
The band definitely lived up to the buzz and ended up as one of my new favourites of the competition. Yet another act I am hoping makes the top three, and if this was any indication, they've got a strong chance of it.

And with that, the series is almost over. The final showcase happens on the 18th, and will wrap up with Dominique Fricot, Mike Edel, T. Nile, and Portage & Main (one of the bands I am rooting for most).