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. 

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.

Toque Sessions: The Matinée @ CBC Vancouver -- 02/01/13

Now in their fourth year, the CBC Toque Sessions is a series of free shows at the CBC Vancouver building, featuring some great local talent, and recorded for later broadcast on CBC Radio 2 and On Demand.

There have already been a few so far, but the first one I attended this season was The Matinée, which is pretty darn good way to kick the series off.

Playing down in Studio 1, it was a seated event which made for a bit more of a relaxed, laid back atmosphere for the band, and they were able to play some lighter songs that they may not have worked as well in a noisy venue. They started the set with one such song, "The Sinking Of The Greenhill Park", but they didn't keep the whole set mellow, breaking out out their anthemic single "Young & Lazy" early on, and they had the crowd clapping and stomping along to songs like "Sweetwater" and the drum breakdown in "The Road", which ended the set.

They previewed almost the entirety of their upcoming album, We Swore We'd See The Sunrise, which is out later this month, with songs like "Who Stoned the Roses" and "This Town" being among the highlights; the former showing off the band's harmonies, and latter their encore song which built up to an explosive and intense ending.

As usual, there was a great energy from the band. Lead singer Matt Layzell has fantastic charisma, but also the ability to melt into the background and give focus to the rest of the band, be it Pete Lemon's drumming,  Geoff Petrie breaking guitar strings, Mike Young who was simultaneously playing bass and keys at one point, or Matt Rose's guitar shredding.

The show was a great teaser for the album, which has been one of my most anticipated albums for the beginning of the year, and I can't wait to hear it.


The Toque Session are running throughout the month, and there are some great looking shows: a Light Organ Records showcase, Jill Barber, We Are The City (playing their new album front-to-back), Odds, a beekeeper + Sidney York mashup, and Dear Rouge. They are all "fully booked", but there is always a rush line, so if you show up early enough there is a good show (but no guarantee) you'll get in.

setlist
The Sinking Of The Greenhill Park, Let Her Go, Young & Lazy, L’Absinthe, On Our Own, Losers, Let it Ride [Ryan Adams cover], Sweetwater, Who Stoned The Roses, December Slumber, The Road.
(encore) This Town

Matt Mays @ Commodore -- 10/24/12

I was lucky enough to catch Matt Mays during NXNE -- his set being a highlight of the festival -- but it's been a while since the shaggy Dartmouth rocker has visited Vancouver. But fresh off the release of his first album in four years, Mays embarked on a cross country tour that finally brought him  back to the west coast.

Opening the night was PEI's The Meds. Their self-titled debut EP was produced by Matt Mays, and his influence was pretty evident on their east coast rock sound. The band had a rocking sound and a good energy on stage, getting the slowly building crowd to clap along, and lead singer Kyle Drake came right up to the edge of the stage a few times. One song that stood out was the catchy "Dial Tones of the Earth", but while they were a solid band, there wasn't much to set them apart.

Up next was a late addition to the show, Vancouver's own The Matinée. The five piece roots rock band started, as they usually do, with "L'Absinthe" and it wasn't long before they got the crowd stomping along to "Sweet Water". Another highlight was their brand new single, the anthemic "Young & Lazy" and they managed to top the energy from the rest of the set as they ended with "The Road", with its giant percussion breakdown.
I been able to see them a ridiculous amount of times in the last year, but I never get tired of seeing them play live. All five members always have a great energy on stage, especially Layzell, who is a great frontman; not only does he have a fantastic stage presence, and charisma to spare, but he knows when to fade into the background and let the focus shift to someone else -- usually Matt Rose shredding on the guitar -- which is sometimes a rare skill for lead singers.

And finally, it was back to the east coast for Nova Scotia's Matt Mays. The band took the stage and exploded with the first track off of the new album Coyote, "Indio", going into a few more from the album. As always, Mays had an amazing energy. Hardly standing still for a moment through the whole set, he did a great job at getting the crowd into it right off the bat. A couple other highlights from the new album were the twangy "Loveless" and the more rockin' "Ain't That The Truth".
Part way through the set, the band took a brief break as Matt pulled out the Grestch White Falcon for a few solo songs, including "Queen of Portland Street" and "Travellin'" where the band to slowly join him and build to a huge ending with a giant sing along. He ramped the energy right back up with raucous "Rock Ranger Records", the funky "Madre Padre", and a pair of old songs that once again got everyone singing, "City of Lakes" and one of my favourites, "On The Hood" to end the set.
But of course, they were back for a couple more. Matt came out alone first, getting behind the keys for the soft and beautiful "Your Heart" before the band to rejoin him for one of my absolute favourite songs, the incredibly powerful "Terminal Romance", with Mays dripping raw emotion and heartache as he spat out the words. And as if that wasn't enough, they wrapped up nearly two hours after the start of the set with "Cocaine Cowgirl", and one last big sing along.

Mays always puts on a fantastic show, so full of raw energy, and tonight was no different. Hopefully it won't be another couple years before he makes his way back.

setlist
Indio, Stoned, Take It On Faith, Loveless, Tall Trees, Dull Knife, Rochambo, Never Saw it Comin', Spoonful of Sugar, Queen of Portland Street, Chase the Light, Travellin', Ain't That The Truth, Rock Ranger Records, Madre Padre, City of Lakes, On The Hood.
(encore) Your Heart, Terminal Romance, Cocaine Cowgirl.

North by North East: Wednesday

My first time ever at North By North East started off last night, and it began with the ending of Tracks on Tracks. For those who haven't been following along, Tracks on Tracks is a project put together by Vancouver's Green Couch, with some help from CBC Radio 3 and VIA Rail. The event took ten bands from Vancouver to Toronto by train, with bands playing every night, some acoustic sets throughout the day, and even a few shows at stops along the way.

All the bands that were on the train -- save the duo of Zach Gray and Adrian Glynn, who were last minute additions, played about a half hour each for a long, but amazing, night of spotlighting BC's finest music.

Chris Ho started off the night, and was a good choice to open, easing the gathering crowd into the night with his upbeat, folk rock. His catchy songs had people stomping and clapping along, and while I wasn't as wowed by his stuff as some other bands on the train, I think he definitely has a great potential as he grows as an artist. (But that isn't to diminish Chris in any way, but rather a note on the sheer talent the Tracks on Tracks train held)

I hadn't heard much of Shred Kelly before the train trip, and they definitely won me over on the train with their self-described "Stoke Folk". And which I got a sense of it from their shows on the train, I didn't get the full scope of how amazing Sage McBride's voice is until seeing them in a proper venue. They've got a great energy, especially Tim Newton, whose fingers are a blur when playing the banjo, and had everyone singing along to the all-too-relatable "I Hate Work" and ended off with "Tornado Alley", which sweeps up into an intense ending.

Portage & Main kept the folk/roots rock going, backed by The Matinee's Peter Lemon and Mike Young on drums & bass. John Sponarski and Harold Donnelly, both on guitar and vocals, mesh together so well, and even though they've only been a band for a year, the fact that they've played together on and off for years is a definite credit. Their train themed, absolute rocking "Sweet Darling" filled the room with energy and they ended, as they usually do, with the giant sing along "Oh Carolina" -- even pulling Grant Lawrence on stage with them to belt out the chorus.

And it would only make sense for the folk rocking The Matinee to be up next. The first time I saw them, I was impressed and an instant fan, and they have somehow managed to get even better; with an unparalleled energy and amazing charisma from the whole band, especially frontman Matt Layzell, and the brilliant guitar work from Matt Rose, I think this show may have been the best I've seen them play. They were on top of their game with new song "Young and Lazy" - and if this song doesn't become a huge hit for them, something is wrong in the world -- and ended off with "The Road", that at one point had each member surrounding Peter Lemon on the drum kit for a great drum breakdown.

That could have already been a stellar show, but we were not even half way done, with Maurice up next. He brought the mood down a little, but not in a bad way, with his alt-pop singer/songwriter vibe. In the spirit of Tracks on Tracks collaboration, Maurice had Marcus from the Belle Game on bass and TLGLTP's drummer filling out his lineup. The set was full of JP Maurice's heartfelt songs, as he oozed raw emotion, with songs like "All I Ever Wanted" and the undeniably catchy "Mistake".

Next we transitioned to the "dancey" part of the night, with the electro-pop of Adaline. The driving beat of "Wasted Time" got everyone moving, as did her amazing and seductive voice. Her set seemed a little short, as she got the five minute warning only three songs in, but managed to fit in a couple more; "Stereo" and ended off with "Rebels of Love"

Then was time for the grand sounds of The Belle Game. Their set also felt a bit short, but they still filled the room with their orchestral pop. The set featured mostly new songs from the band, which sounded amazing, and they also brought up Zach from The Zolas to help out on vocals for a song. They ended with the majestic "Sleep to Grow" building to a huge, climactic ending.

Sidney York almost wasn't going to be able to play the showcase, due to another show that night, but they were able to come back for a quick set. They always put on a fun show, and even with only three songs they packed them with enough energy for a full set. Getting people to sing along to "Roll With Me" and the insanely catchy "Mile High Love" ended off the set.
And it should be noted that Mike Young from The Matinee was filling in for their sick bass player, so in one night he ended up playing fours sets with three bands in two venues.

And then, it was a Topless Gay Love Tekno Party. Dressed up in giant silver shoulderpads and covered head to toe in glitter, the band made their way through the crowd, glittering people as they went by, throwing handfuls in the air. They took the stage and launched into their brand of insanely fun, self-deprecating tongue in cheek dance pop. With songs that had ridiculously catchy and easily sing-along-able songs, the entire crowd was singing along -- even those hiding from the glitter in the back. They had balloons and glitter flying through the air the entire set, as well as a large inflatable... phallus... that was kept up through half the set, and they ended off with the self titled "Top Less Gay Love Tekno Party", again getting the whole crowd to sing along.

And yet again, that would be a great ending, but there was still one more band to go, side project from TLGLTP's bass player Ian Bevis, Bear Mountain. The trio was joined by Luke Cyca on drums, and keep the dance party going with some synth looping and catchy beats. At this point half the crowd was filtering out, as it was around 2am, and half the crowd still dancing, as well as some heartfelt goodbyes from all the people on the train saying goodbye. Since Friday night, it felt like the party would never end, but this was the last hurrah.

And what a hurrah it was.