The Strumbellas @ Imperial -- 10/30/14

I've said a few times before on this blog, there's a certain ubiquitous folk sound that I have just "gotten over". Maybe it was the over saturation, maybe I've just moved past it, but I find myself thinking it less and less interesting.
That being said, there are still some bands that prove there's still some good folk out there, and The Strumbellas is one of them. Which the Toronto band did last week as they took to The Imperial, as part of their Ride On North America Tour.


First up was Edmonton's The Provincial Archive. The four-piece had a poppy, folsky sound reminiscent of early Decemberists, as they played songs from their recent album It's All Shaken Wonder. 
Starting with the lead off track from the album, "Daisy Garden", lead singer Craig Schram introduced every song with a brief story, occasionally switching off between guitar and banjo, and even taking one song solo as the rest of the band took a break for "Land Machines".
The crowd stadily grew, and made their way towards the stage, as the set went on thanks to catchy songs like "Common Cards", and "Weight and Sea" from their previous album,  Maybe We Could Be Holy, which got some clapping along,
Their set ran for about 45 minutes -- maybe a little long for an opener -- but it was a solid set nonetheless, and I'm looking forward to the next time they're back.


The six members of The Strumbellas packed the stage launching immediately into "Home Sweet Home" from their Juno winning album We Still Move On Dance Floors, getting the crowd doing just that.

The entire band had a great energy and presence on stage -- especially David Ritter on keys and lead singer Simon Ward -- and a very loose vibe; they joked around with the crowd, and never wasted an opportunity to needle each other. They made even a packed Imperial feel like an intimate hangout in someone's living room.

Musically, their "folk popgrass" sound had songs ranging from a slower, country jams to a fiery rocking  and everything inbetween -- with plenty of stompin' and clappin' and singing along to their deceptively upbeat songs, a lot of which about death. Highlights included the anthemic "End of an Era", the explosive energy of "Sheriff", and a new song that they "weren't finished fighting about".
There was also a great moment where Simon said he was going to try a song off-mic, unplugging his guitar and stepping to the front of the stage for a beautiful song "The Fire", as the rest of the band joined him off-mic and the crowd shushed each other into silence.

They wrapped up the main set with "Sailing", but of course were back for more -- one member joking that the whole encore concept was "More awkward than sleeping with your wife's sister" -- and they wrapped up with a couple more, including the raucous "Did I Die" that even included a harmonized rap from Simon & David.

Owen Pallett @ Imperial -- 09/09/14

A little over four years. That's how long it had been since the last time I saw Owen Pallett play live. Since then he's been a little busy; scoring films, getting nominated for awards, and working with a little band that you may have heard of called Arcade Fire. And, of course, working on his brand new album, In Conflict.

I got to the venue just after the first band, Foxes in Fiction, had started. Normally one of those 'single-guy-with-a-band-name' acts, Warren Hildebrand (guitar and vocals) was joined by Emily Reo on keyboards, sampler, omnichord, looping pedals, backup vocals as well as Owen Pallett himself for most of the set, on violin.
They had a very lofty and shoegaze-y sound, with something about their songs sounding almost comforting, like a musical hug.
I really enjoyed the set, and I am going to have to check out their upcoming album, Ontario Gothic, which comes out later this month.


Next up was Avi Buffalo. In contrast to Foxes in Fiction, they were a 'person's-name-but-actually-a-band" act, a four-piece from Long Beach, California. They were a little more indie-sounding, with a hint of twee-pop, definitely influenced by the early-mid 00s and bands like The Shins. Lead singer Avi Zahner-Isenberg's vocals often raising into a falsetto -- which sometimes didn't quite work out so well.
Early on in the set, they had to come to a screeching halt mid-song for Avi to fix his guitar, and the quick-thinking keyboardist started noodling, playing some music from Zelda to quash the potentially awkward silence. But that aside, the sound of the band was strong, but in the end, it didn't really feel like a cohesive set; Avi even apologised for the technical difficulties when they left the stage, so I think I may have just caught them on an off-night.


It wasn't long after that Owen Pallett took the stage alone with his violin. He launched right into "That's When The Audience Died", which is almost what happened watching him carve away with his bow, or watching his frantic fingers pluck away at the strings, all while masterfully looping everything with his amazing voice soaring over everything. Pallett added some keys and even percussion -- by thumping the violin with his thumb -- for a few songs, including one of my favourites off the He Poos Clouds album "Song Song Song", before he was joined by his rhythm section, Rob Gordon and Matt Smith on drums and bass, respectively. They made for a fuller sound, but the focus was still very much on Owen and his looping.

Pallett was also in good spirits, chatting with the crowd a little between songs, and even at one point asking if anyone had questions (which he may have instantly regretted when a guy in the front row started rambling, likely inebriated). He introduced songs with a hint of self-awareness, calling "The Passions" kind of a downer, or admitting that he had been screwing up "Scandal at the Parkade" lately, before flubbing a loop, which just added to the comfort of his set.

Other highlights included the soaring "Tryst With Mephistopheles", the gorgeous ode to his Arcade Fire bandmates, "This Is the Dream of Win & Regine", and the absolutely intense "The Riverbed" -- a song that has quickly become one my favourites of his -- which ended the main set.
But of course, he was back for a few more; another favourite, the frantic "Many Lives → 49 MP" before ending with a pair from his last album Heartland, " Lewis Takes Action" and "Lewis Takes Off His Shirt"

It was a very good audience, too. Lots of cheers and recognition applause from the sold out crowd, but respectfully silent while he was playing. That, combined the great sound in the Imperial, made for a show that won't soon be forgotten.
Now, hopefully it's not another four years til next time.

setlist
That's When The Audience Died, The Arctic Circle, Song for 5 & 6, The Passions, Song Song Song, Midnight Directives, Keep the Dog Quiet, Soldiers Rock, Tryst With Mephistopheles, The Secret Seven, The Great Elsewhere, Infernal Fantasy, This Is the Dream of Win & Regine, Scandal at the Parkade, The Riverbed.
(encore) Many Lives -> 49 MP, Lewis Takes Action, Lewis Takes Off His Shirt

The Zolas @ Imperial -- 06/13/14

Just yesterday I was talking about a Vancouver venue I didn't much care for, so it's appropriate to swing the other way and celebrate one of the better new venues in the city. This weekend marks the first anniversary of The Imperial, and they celebrated with a whole weekend of goodness; Hey Ocean! on Thursday night, The Zolas on Friday, and The Dudes on Saturday.


I got to the venue part way through the first band of the night, Damn Fools, who were recently announced as one of the top twelve bands for this year's Peak Performance Project. The six-piece had a pretty straightforward classic rock sound, without much variety to the songs, and lots of random solos and jamming spread throughout.
Even though I came in mid-way through the set, they seemed to be playing for abnormally long (for the first of three bands) and while they were fine musicians, their music wasn't all that interesting; just a generic, Black Crowes-ish southern rock sound. They seem like they would be a great "house band" at a bar, or another place you're not really paying attention to the music. But nothing I would see again on purpose.


Next up was former Sun Wizard co-frontman, James Younger. I had seen him a couple months ago, opening for The Gay Nineties, and his set (and my opinion) didn't differ too much from that show. His 70s-influenced throwback rock sound got the crowd moving, but as I said last time:

There was nothing about the set that made me dislike it, but not much that made it particularly stand out either. Younger and his bandmates -- which included Andy Bishop, who plays in about 37% of all Vancouver bands -- were all unarguably strong musicians, but there wasn't much variety to the songs. It was Perfectly Acceptable Music, and a good opening act.

And after the weirdest between-set music (the thumping techno dance remixes were not really fitting) the emcee was out to announce a couple Peak DJs who were out to announce The Zolas. 

They kicked it off with the first couple songs from their most recent album Ancient Mars, "In Heaven" and the insanely infectious "Knot In My Heart", before announcing that this would be the last time they play that album in full. Zach even joking that this was less a show and more a focus group to decide which songs to keep. 

And so most of the set was dedicated to the album, with only a few exceptions; my favourite b-side "Cultured Man", the chaotic "Marlaina Kamikaze" where Tom really let loose on the keys, and their newest song, a one-off single "Invisible". Other highlights included the quirky "Observatory", and "Strange Girl", which got the crowd clapping along (or attempting to, anyway). 

The band was in fine form, especially Zach with his usual barely-contained ball-of-energy self, jumping around the stage, trying to find his roommate a date between songs, and even going into the crowd to sing the last song of the main set, "Escape Artist". 

And of course, after they finished the main set, they were back for a couple more, with Zach first taking stage alone for the soft and creepy "Cold Moon" before the band joined in, and ending on (of course) their breakout hit "You're Too Cool", the entire crowd singing along, some even in the appropriate falsetto. 

Unsurprisingly, it was a great set from the band, as they fed off the energy of the sold-out  hometown crowd, and while I am sad to see some of the songs from Ancient Mars go, I am definitely excited to what's next from Zach and Tom.

setlist

In Heaven, Knot in my Heart, Observatory, Ancient Mars, Local Swan, Cultured Man, Strange Girl, Euphrates and Tigris, Marlaina Kamikaze, Invisible, Escape Artist. 

(encore) Cold Moon, You're Too Cool.

There is one thing that did bother me, though: I am getting more and more annoyed by Vancouver shows running late. It's by no means a new phenomenon and not limited to one venue, but The Zolas didn't hit the stage until quarter after midnight -- 45 minutes after the advertised set time. I understand that shows run late, set times are "subject to change", things happen and all that... but 45 minutes is ridiculous, even for a weekend. 

But scheduling and strange house-music aside, I still really like The Imperial as a venue. It's got great sound and is a good room, size- and sight-line-wise, and I am looking forward to checking out more shows there in the years to come.

The Matinée @ Imperial -- 03/01/14

It's been quite song time since the last time The Matinée played a hometown show in Vancouver, and even longer still since they headlined a show of their own. But the Vancouver roots rock band had the Imperial packed for somewhat of a homecoming this weekend.

Opening the night were a couple of bands with ties to The Matinée. Gastown Royals had played shows with them all the way back to their time at the Bourbon, and Good For Grapes had done at least a half dozen shows with. But unfortunately I missed both bands, getting there just as Good for Grapes were wrapping up.

The Matinée took to the stage with the classic "Maybe Tomorrow" blasting over the speakers, unveiling a different lineup than fans were used to. They were joined by Georges "CoolKeys" Couling on keyboard, and filling in for the departed Mike Young on bass was Marcus Rainer (who has played with, I think, about 78% of all Vancouver bands).

They opened the show with a pair of new songs, both high energy getting the crowd into it, before "L'Absinthe" from their album We Swore We'd See The Sunrise. Throughout the night they had a few guests on stage; Kendel Carson came out on violin for a couple songs, absolutely shredding for "Let Her Go", and Shawn Hall from The Harpoonist & The Axe Murderer on harmonica for a cover of Black Rebel Motorcycle Club's "Ain't No Easy Way".

I've seen The Matinée several times live, and while they never fail to impress, they were certainly on top of their game. Each member has such a great stage presence, from guitarist Geoff Petrie's effortless cool to other guitarist Matt Rose burning up the guitar (or banjo) on his solos. And Matt Layzell has one of the best (and most rare) qualities in a lead singer, knowing when not to be in the spotlight. When not singing he would often fade into the background and let his bandmates -- or even guests on stage -- take the spotlight.

After a huge sing (and clap) along to "Sweetwater" and their big hit "Young & Lazy", they ending the set with "This Town", that build to an explosive end, but of course were back out for a few more. They started the encore joined by Michelle and Michael from the Four on the Floor String Quartet, for the haunting "The Sinking of The Greenhill Park", and after another new song that featured a fantastic drum solo from Peter Lemon, they wrapped up the night as they usually do, with "The Road" and its full-band drum breakdown, making for one hell of a finale.

setlist
[New Song], [New Song], L'Absinthe, Let Her Go, On Our Own, Ain't No Easy Way [Black Rebel Motorcycle Club cover], [New Song], Sweetwater, Young & Lazy, This Town.
(encore) The Sinking of the Greenhill Park, [New Song], The Road. 

Matt Mays @ Imperial -- 11/12/13

Relentlessly touring his latest album, 2012's Coyote, Matt Mays wrapped up his solo acoustic tour at a fairly new Vancouver venue, the Imperial. The last time he was here, Mays sold out the Commodore, so seeing him in a room with less than half the capacity was certainly a treat.

Starting the night was Adam Baldwin, a longtime friend and bandmate of Mays. Baldwin played a short set of about half a dozen songs from his newly recorded EP. It was pretty standard singer/songwriter fare, but Baldwin is a great musician, and his funny and charming banter between his heartfelt songs helped sell it.

Soon after that, Matt Mays slowly took the stage, aided by a pair of crutches, with his only explanation a bit later in the show with a succinct "hot tub party".
Taking a seat, he pulled out his acoustic guitar and harmonica and launched into "Plan" from the self titled Matt Mays & El Torpedo album. He played the first couple of songs alone, the heartbreaking "Loveless" and "Season to Leave" from his old band The Guthries, flubbing a bit of the lyrics on the latter. Any other show it would have been detrimental, but the very loose and laid back atmosphere of the show was forgiving. He jokingly blamed his codeine and T3s, and as the set went on, it just got more and more relaxed. Mays joked with both the crowd and with Adam Baldwin, who came out to join him for the rest of the set. The two needled each other like only old friends could, making the show feel less like a sold out venue, and more like a friend's living room.
Baldwin backed up Mays, going between guitar for songs like a nice rendition of the usually dark "The Past" and keys, for the more upbeat "Digital Eyes". Other highlights included "Queen of Portland Street" and the final song of the main set, "Terminal Romance"; usually an intense and passionate song, the acoustic version really emphasised the heartache of the lyrics.
But after a standing ovation, Mays hobbled back on stage for a few more; starting with a very moving performance of "Chase the Light", essentially dedicated to Jay Smith, that ended in a beautiful sing along.  He brought Baldwin back on stage so he could take over vocals on a cover of Bruce Springsteen's "I'm Going Down", and they wrapped up the night with a quintessential campfire song, "On The Hood".

Mays has long been one of my favourite performers; his full band shows are raw and emotional and intense, and while the acoustic show was a lot more toned down, it was much more intimate, and no less emotional.

setlist
The Plan, Loveless, Season to Leave [The Guthries], The Past, Indio, Take It On Faith, [unknown song], Digital Eyes, Spoonful of Sugar, Tall Trees, Queen of Portland Street, City of Lakes, Terminal Romance.
(encore) Chase the Light, I'm Going Down [Bruce Springsteen cover], On The Hood.