Keloha Festival @ Waterfront Park -- 07/05 - 07/07/13

On the sunny shores of the Okanagan lake in Kelowna BC, the Keloha Festival celebrated its second year. And what a celebration it was. From local heroes like The Matinée and The Zolas, to national favourites like Arkells and The Trews, to international headliners Mutemath, Matt and Kim, and MGMT, the Keloha lineup was the one I was looking forward to most out of all the "local" festivals this summer.

Day one: Friday

I arrived in Kelowna Friday just in time to catch the last couple songs from Yukon Blonde (thanks to a lack of signs and getting blocked out by a body of water and a fence trying to get into the festival). The band sounded great in their hometown, and were definitely a great way to start things off.

After getting settled in and getting the lay of the land; checking out the Island Stage in the middle of a lagoon and the Sandbar Stage right on the beach, and all the vendors in between, it was time for The Trews to take the stage. The Antigonish rockers started with the high energy "The Power of Positive Drinking" and hardly slowed down. They had the hillside crowd singing and clapping along, especially to songs like "Not Ready To Go" and one of my favourites, "Poor Ol' Broken Hearted Me". As they are wont to do, they also had a couple covers slipped in to songs, like U2's "I Still Haven't Found What I'm Looking For" in the middle of a new song "Lord, Keep Me In Mind".
After what seemed like not nearly enough time, they ended the set with "Hold Me In Your Arms" to thunderous applause, the crowd definitely revved up.

The night ended with Mutemath, who were the band I was most excited about. I hadn't seen them live in a few years, and was afraid I had hyped them up too much in my mind, but from the minute they hit the stage (and drummer Darren King wrapped his headphones around his head with electrical tape) and started into the title track of their most recent album Odd Soul, I knew I had been worrying for nothing.
The whole band had incredible energy, but especially lead singer Paul Meany. When not at the keyboard, or playing keytar, he would be right up at the barrier, leaning into the crowd singing. He even performed a few of his trademark "keyboard handstands".
Highlights of the set included the relatively-mellow & heartfelt "Noticed", and the explosive "Typical", as well as the grand finale, "Break The Same" which transitioned into "Quarantine" as an air mattress with lights around the side was thrown into the crowd, and Paul got on top to surf the crowd while singing. And as he got back on stage, they ended the set with another bombastic percussion breakdown, leaving the crowd spent and drained for a first night of Keloha that would be hard to top.

Day Two: Saturday

The second day started with a couple Vancouver bands on the Sandbar Stage. Rococode started off the day and were followed by Dear Rouge. Both put on strong sets, despite the early afternoon heat draining everyone's energy (okay, maybe just a certain blogger's energy) and both had a good, dancing-on-the-beach vibe.
(Dear Rouge would later put on an absolute rager at Doc Willoughby's with The Zolas as part of the After Party series)

Over on the Island Stage, Malibu Knights had a pretty generic rock sound, while Fields of Green tore it up for their hometown crowd; their high energy prog-rock sound continuing to grow and amaze me. I caught a bit of Gold and Youth but their dark and synthy sound would be better suited to a dimly lit and smokey venue, not a bright and sunny day.
I also was able to squeeze in a few songs from Shad on the beach stage, "Rose Garden" and "Ya, I Get It", where Shad jumped into the front of the crowd, before his DJ's laptop crashed, and he got the crowd to provide the percussion for the next song.

But I had to leave his set early to go catch The Zolas back at the Island Stage. The crowd was gathering and started to groove as they kicked off with "In Heaven" and "Knot In My Heart", the opening tracks to their most recent album Ancient Mars. As usual, the band had a strong stage presence and energy, especially Zach Gray, who is like a pot simmering over, always ready to erupt.
Most of the set focused on the new album, including the quirky "Observatory", but they also tossed in a couple older songs, like the fiery "Marlaina Kamikaze" and the passionate "You're Too Cool", which ended off the set.

Another one of the main bands I was there to see were up next, Arkells. Even though they had been at a festival the previous night in Toronto, they were advised not to miss this show, thanks to the setting alone, and they made sure to point out it was definitely worth it.
"On Paper" started off the set, with the band's energy through the roof, as usual. They are a fantastic and tight live band, and lead singer Max Kerman has an amazing and effortless stage presence. Highlights included "Oh, The Boss is Coming", which got the crowd yelling along, and they also dug into a little Motown that they save for special occasions with a cover of Jackson 5's "I Want You Back".
They wrapped up the set with one of my favourites, "John Lennon", and the raucous "Whistleblower".

Australia's Atlas Genius was up next, but while they were starting to amass a bigger crowd who were getting the dance party started, I thought their set felt a little flat. It was a pretty upbeat rock sound, and they were certainly very fine musicians, but a lot of the songs sounded pretty much the same and I just couldn't get into it.

And finally, wrapping up the second night was Matt and Kim. I had heard they were good live, but I had no idea just how nuts Matt Johnson on keys (and the odd sample, like the explosion he used to punctuate things) and Kim Schifino on drums (sometimes literally standing atop the drums to play, or clap, or "shake her booty") would be. They came right out with an incredible energy and fantastically likeable personalities to whip the crowd into a frenzy. They weren't just playing for the crowd, they wanted to party with them.
From throwing out balloons, to getting everyone to simultaneously jump, to Kim running atop the crowd to dance while people held her upright, both musicians were full of raw enthusiasm, which was absolutely contagious.
I wasn't too familiar with their music -- only recognizing the bouncy "Cameras" and "Daylight" -- which ended the set, but they definitely put on an amazing show and I wouldn't hesitate to see them again.

Day Three: Sunday

Unfortunately, I had to head back to reality early on Sunday, meaning I would miss MGMT, but I did manage to catch a few local favourites before departing.

I got there just in time for Maurice to take the Island Stage, joined by a couple familiar faces, including Andrew Rasmussen on keys and Stephanie Chatman on violin. Starting off the set with "Get Mad", JP has an effortless stage presence and fills his songs with raw emotion, and highlights included the undeniably catchy "Mistake" and the best song that deals with the repercussions of a threesome, "Robin".

Wake Owl was up next, and I'm not sure if it was where I was perched on the hill, but the sound wasn't too great; their rich and lush orchestral sound didn't seem to translate very well. They played some songs off their Wild Country EP, the eponymous song being a highlight, and a few new ones which were a bit more upbeat and jaunty.

At that point, The Matinée was supposed to be taking the Sandbar Stage on the beach, but they had a little bit of highway trouble and were still on their way, so they swapped with Saskatchewan grunge band One Bad Son who were pretty much an average and generic grunge band.

But The Matinée did manage to get there just in time for their new set on the Island Stage, and despite the ten hours of travel they had just endured, they still put on one heck of a set. Starting off, as they usually do, with "L'absinthe", they put boots to the ground and kicked things into high gear. They got people clapping along to "Sweet Water", which also featured a great banjo solo from Matt Rose, threw in their cover of Zeppelin's "Bron-Y-Aur Stomp", and wrapped it up with "The Road", with its top-notch percussion breakdown.


And with that, I had to head back. I was disappointed to leave, but not too sad of missing the rest of the day, as they were mostly artists I had seen or didn't have too much interest in, and the weekend was already packed with enough memorable moments to last a dozen festivals over.

If the lineup is even a fraction as good as this next year -- and if they keep the "After Party" series going, with smaller bands playing in small local venues -- I will be back to the Okanagan in a heartbeat.

Rykka @ Fan Club -- 06/01/13

First time I saw Rykka was a few years back; she was a part of the Peak Performance Project under her own name, Christina Maria. Since then she's eschewed the folk-pop, re-branded herself as Rykka, and embraced a dark, electro-pop sound. Splitting her time between Vancouver and Switzerland, she's ready to release her first album as Rykka, called Kodiak, and celebrate with a show at the Vancouver Fan Club.
This was also the first proper show I had seen at Fan Club, still a fairly new venue, and I was more or less impressed with the place.

Starting off the night was Rococode -- or more accurately, one half of Rococode. Andrew Braun promised some slow jams as he & Laura Smith took the stage, Braun on guitar and Smith on keys, their voices harmonizing and intertwining excellently.
They played a short set, a bit toned down and relaxed, but no less catchy. The usually punchy songs like "Empire" & "Blood" were more melodic, and the new songs they included sounded promising; I'll be interested to hear them with the full band.

Next up was Ryan Guldemond doing a solo set. The Mother Mother frontman has worked with both Rococode and Rykka, producing and playing on the new album, so he seemed a natural to support the show. His solo songs sounded much like you'd expect the Mother Mother member to sound -- catchy tunes with sharp lyrics -- but with more of a bluesy riff in the mix, giving Ryan an excellent chance to show off his great guitar chops.
Highlights included a brand new song called "Cut the String" and "I Go Hungry" as Ryan effortlessly went from songs full of literary references to love songs with a bit of a sinister undertone. He even threw in a newer Mother Mother song, "Happy", from their most recent album, The Sticks.

The curfewed show ran like clockwork and it wasn't long before Rykka hit the stage in a homemade outfit -- bodysuit with strategically placed spikes to give her a bit of a Mad Max look -- with a band that included some familiar faces to the Vancouver music scene, including Andrew Braun pulling double duty for the night on keys.
They started off the set with the album's opener, "With Love In Woe", and right from the get-go, Rykka's incredible energy and stage presence shone through. Her powerful voice carried songs like "The Brink" and her intensity giving weight to songs like "Showdown Lover". Other highlights included "Shotgun" and "Map Inside", both incredibly catchy songs.
The set included most of Kodiak, a few new songs, and even a cover of Whale Tooth's "Wolves" to wrap up the main set. But of course, Rykka was back out moments later for the encore, first joined only by Ryan Guldemond for a soft and beautiful song, "The Mirror", Ryan on guitar and their voices blending fantastically. The rest of the band then joined them the the last song of the night, definitely going out with a bang with probably the most high energy of the night, "Electric"

When I saw her perform as Christina Maria, I was quite impressed. She was confident and energetic on stage, and that's only been amplified in the few years since.
Vancouver has a wealth of musical talent, as this night was a perfect showcase of that.

Said the Whale @ Rio Theatre -- 12/16/12

It was a Christmas extravaganza at the Rio Theatre this weekend for a pair of sold out Said the Whale shows. I was at the second night, Sunday, where the stage was set to Maximum Christmas, with a yule log burning on the Rio's big screen before the show and light snowfall during; the bands were flanked by giant inflatable Santa & Frosty; strings of lights cross-crossing the stage; and a wreath hung on the kick drum. All it was missing was stockings hung with care.

Opening the night was Rococode with their dark yet catchy alt-pop. It was the first time I've seen them since their minor personnel change (a new drummer), but they were as good as ever, with songs like the soaring "Empire", which always gets stuck in my head, and "Ejay", that breaks down into an chaotic and cacophonous ending. After the haunting "Ghost I & II" (a song in dire need of a theremin) they wrapped up their opening spot with a new song, the holiday themed "Winter Revival".
They always put on an enjoyable show, with a high energy and the great harmonies with the vocals of Andrew & Laura intertwining, and this was no different.

setlist
Weapon, Run Run Run Run, Empire, Dreams, Blood, Ejay, The Riot, Ghost I & II, Winter Revival. 

Not long after that, the lights dimmed for Said the Whale and Ben came out and took a seat at the stand up piano on stage, first breaking out the recorder for some Little Drummer Boy, then starting the show with the Christmasy "The Bones of Winter". The rest of the band joined him -- all clad in Christmas sweaters -- for "Wanting Like Veruca" and getting the sold out theatre to clap along to "This City's A Mess".
They played a good mix of old and new, with some of their Christmas songs sprinkled in. For the past few years, they would put out a Christmas EP, and this year they released them as a collection. And while I've never been a big fan of Christmas music, there are a few songs -- like "Puddleglum", a depressing look at last minute shopping -- that I can get behind. There was also a new song thrown in, a Ben-fronted bass driven slow jam called "Okay Okay Okay", that was quite an interesting departure for the band.
Other highlights included "Love is Art/Sleep Through Fire", one of my favourites of theirs that is puzzlingly relegated to an EP, "Black Day in December" (the weekend marked the 6th anniversary of the Stanley Park windstorm that the song is about) and of course, the insanely infectious "Camilo (The Magician)". They wrapped up the main set with "Goodnight Moon", starting with Tyler sweetly strumming his ukulele then exploding into sheer joy.
And of course they were back for an encore, first Ben and Spencer came out for "Weight of the Season" before the exuberant "Emerald Lake, AB", and they wrapped up the whole night by puling Rococode on stage, and with Jacelyn at the piano, leading a sing along to "Christmas Time is Here", the lyrics up on the screen for people to sing loud, for all to hear.

Said the Whale is always a fun band to watch live; the interaction between the band -- especially Ben and Tyler -- shows just how much the band enjoys playing, and how appreciative they are to their Vancouver fans. And that energy pours out of them

setlist
The Bones of Winter, Wanting Like Veruca, This City's a Mess, Love is Art/Sleep Through Fire, Black Day in December, [mystery song]*, The Light is You, The Reason, Out on the Shield, Puddleglum, Big Sky MT, Lines, Okay Okay Okay, Howe Sounds, Loveless, 24 Days of Xmas, Camilo (The Magician), The Gift of a Black Heart, Goodnight Moon.
[encore] The Weight of the Season, Emerald Lake AB, Christmas Time is Here. 

*possibly another Christmas song I didn't catch the name of. 

Steam Whistle Unsigned w/ Acres of Lions, Rococode & Familia @ Biltmore -- 07/26/12

For a while now, the Toronto microbrewery Steam Whistle has been hosting its Unsigned events in various Canadian cities. Each concert in the series features three Canadian artists -- the first Vancouver show back in January featured Treelines, The Ruffled Feathers, and Sidney York -- with all of the ticket sales going back to the arts community; in this case to Solidarity Rock which supports musicians in Cuba.

The first band up was Familia, who recently changed from a four-piece to a trio. The lead singer, Tamara Umlah, has a strong and soulful voice, but musically they have a pretty straightforward soul-pop sound. Even their cover of Cold War Kids' "Hang Me Out to Dry" sounded similar to the rest of their set. They weren't bad by any means, and a perfectly acceptable opening band.

Next up was Rococode who once again displayed their catchy alt-rock/synth pop sounds with great harmonies. There wasn't much banter through the set, instead just focusing on playing songs off of their debut album, Guns, Sex and Glory -- like "Empire" which always gets stuck in my head after seeing them -- as well as a couple new songs sprinkled in -- "Run Run Run Run Run" has a definite catchy edge. As usual, the band had a great energy, and they're always a pleasure to watch play.

And wrapping up the night was Acres of Lions. Unfortunately I only caught about half their set, since it was a bit of a late start, but they were on top of their game. An incredibly fun band to watch live, the four members were all oozing energy and enthusiasm, and had no problem getting the crowd to sing and/or clap along to songs like the nostalgic "Kids" or "Closer" (and, I can only assume, "Reaction" later in the set).
And, as a side note, the band was on tour at this point for over 150 days, and were by no means showing signs of slowing down.  A harder working band would be rare to find.

Despite the late start on a week night -- which isn't unusual for the Biltmore -- it was another great event, and I am definitely looking forward to another trio of bands for the next Steam Whistle Unsigned.

Rococode CD Release Show @ Electric Owl -- 04/04/12

At the tail end of a cross Canada tour, Rococode comes home for the official CD Release show of their debut album, Guns, Sex & Glory, released a couple months ago. And they brought with them their "band mentor", and another local band who I've been meaning to catch.

Due to another show, though, (seriously, it seemed like everything was happening Wednesday night) I got there part way through Wintermitts set, catching just the last couple songs. The bi-lingual band had a grandiose, orchestral-pop sound, with a stage packed full of instruments; keys, accordion, horns, and more. I caught just enough to know that I definitely want to see them again, hopefully seeing an entire set.

Next up was Ryan Guldemond doing a solo set. Taking the stage alone, he sounded a lot like you'd expect from the frontman of Mother Mother, just a little more on the bluesy and jazz side, with his distinctive voice over some catchy and cleverly written songs. A few he introduced as new, but I'm not sure if they will be eventual Mother Mother songs, or for his own repertoire, and while I didn't catch the name of any of the songs, there were a few I am hoping are released in some form.

And finally, Rococode hit the stage, starting off with the slow build up of title track to their debut album, Guns, Sex & Glory before launching into "Weapon". Seeing a band at the end of a tour can go two ways, either the band is firing on all cylinders having played together so often, or being completely road-weary, and the four members of Rococode were definitely the former; their harmonies were airtight and the insanely catchy power-pop spot on.
They played nearly the entire album, with a few new songs thrown in, highlights being the haunting "Dreams", the definite earworm "Empire", and the closer of the night, the cacophonous "Blood".
I've been able to see Rococode several times in the last year and a half, and they never fail to impress live; continually getting better and putting on great live shows.

setlist
Guns, Sex & Glory; Death of a Payphone; Run Run Run Run Run (Run); EJ; Concentrate On Me; Empire; Dreams; Concentrate On You; The Riot; Ghost I & II; Blood.