It’s that time of year when summer festival announcements begin pouring out the yin yang, and today NXNE announced its second wave of artists for the June 13-22 festival in Toronto.
First Round: includes St. Vincent, Danny Brown, Run the Jewels, Juicy J, Mac DeMarco, Rhye, Omar Souleyman, Speedy Ortiz, Odonis Odonis, Courtney Barnett, Mas Ysa, the Golden Dogs, the Cliks, and Paradise Animals, and more.
Second Round: includes Spoon, Sleigh Bells, Spiritualized, Swans, A$AP Ferg, tUnE-yArDs, METZ, Ryan Hemsworth, Tim Hecker, Oneohtrix Point Never, the Pizza Underground, Fuck Buttons, Low, Small Black, Eagulls, Perfect Pussy, the Barr Brothers, Le1f, Swearin’, Glasser, Alvvays, Saint Rich, Ratking, Mutual Benefit, Juan Wauters, Kelela, and more.
For more wristband and ticket information, see here. Before you know it June will be upon us, and we’ll be seeing you there!
If you or anyone you know is in a band and haven’t begun applying for festivals yet, the first wave of deadlines is coming up. Most are pretty straightforward and require a bit of time to fill out, but not too long. Here are a few of the submission deadlines coming up, so don’t be a chump and miss out!
It’s that time of year when things quiet down and we wait for the warmer weather to come back. But it’s also time for some summer festival announcements! Ottawa Explosion Weekend, a.k.a. the loudest weekend of the year, has just announced dates and an artist submission form. No bands have been named as of yet, but you know we’ll give you the low down as soon as the lineup is announced. Just like last year, we’ll be there destroying our eardrums and bodies to keep you in the loop with what’s happening at the festival. More info below.
With anticipation growing for the second year of Arboretum Arts Festival, we decided to put together a playlist of some of this year’s bad-ass music lineup. There’s a perfect balance of local and non-local here, and the organizers did a damn fine job putting this year’s lineup together. So here’s our way of helping you get to know a little bit of what to expect on the stage August 16-17, 2013.
I like biking. I enjoy telling myself that it’s sufficient cardio to keep me healthy (which it certainly is not) and, furthermore, am a fan of the speed at which one reaches their destination compared to walking. On my way to Bluesfest, my back wheel came off the hinges once again and nearly launched me into a parked car, which would have just been plain embarrassing more than anything. I like biking when my bike isn’t a giant piece of crap that tries to kill me. I’m in the market for a new bike now, and this is the one I’m seriously considering:
So I locked my crap up and walked the rest of the way. It was a beautiful day out, one of those days that you soak up the sun and feel good that it’s summer out. However, in the not-so-far distance there was a cold front coming in that, as per usual, brings with it a massive storm system. Luckily, the storm narrowly missed LeBreton Flats and provided us with a nice breeze that took away some of the humidity.
The first show of the day was a band from Adelaide, Australia, called Atlas Genius. I had heard a few songs by them and enjoyed their style, but had never taken a good listen to their album. They had a good balance going with their instruments, the synth and drums weren’t so prevalent that it overpowered the others. Their set was comprised of lots of danceable tunes, and the crowd seemed to enjoy it but not to the extent that they would actually, you know, move. They played a few songs that I recognized, such as “Symptoms, “If So”, “All The Girls”, and their most popular single, “Trojans”. Lead vocalist Keith Jeffery mentioned that he really felt like he was back home in Australia, as the climate was similar to that of his homeland. Having lived in Australia for a year, it was nice to see a band from there since I know they are a very proud nation when it comes to their artists. It was a nice start to the day, but after that I was craving some action and intensity.
Atlas Genius is seen here performing at the RBC Bluesfest in Ottawa on Thursday, July 10, 2013. PHOTO: RBC Bluesfest Press Images
Eric and I out Animal Collective and simply didn’t get it. We didn’t understand. Noise as art? Were we supposed to drop acid before the show? Eat some mush? Sniff heroine Uma Thurman style? We were totally underwhelmed. We looked at each other, gave the official “nod of disapproval” and went on our way. There was a British folk band called The Dunwells over at Blacksheep Stage who had nice harmonies and catchy songs, but that wasn’t what we were in the mood for. Like I said, something to pump us up a bit. There was a bit of a lull before the headliners, a calm before the storm. I caught up with some friends and made a final decision on which acts to check out that night.
The music gods (or the powers that be) really messed with us this day. Four major acts were scheduled to play between 9pm and 11pm, which made deciding which show to see a really arduous task. Here’s the conflict: Dan Deacon vs. A Tribe Called Red vs. Passion Pit vs. Weezer. This is a reality of music festivals though, but I don’t see why Marianas Trench had to take up an earlier slot and force all these acts to compete.
Alas, it was decided that the River Stage would be my new home for the evening. It was a decision that was not made lightly, but I had a good feeling that shit was going to hit the fan there (in a good way). With a beautiful view, some personal friends and friends in the music scene also in attendance, we settled in by the river.
Solange Knowles (yes, she shares sisterly DNA with the one and only Beyoncé) was the next act up. I had briefly checked her out online, just to get an idea of her musical style, and I really enjoyed what I heard. She came on stage wearing a cool dress-skirt thingy and really, really long braids down to the back of her knees. Her band was hipstered-out, blurring the lines between generations by wearing bell-bottoms, having full-on afros, with a few of them also having an 80s-inspired look too. The lead guitarist appeared to be 13 years old, which was interesting because he was actually really talented. I really like the fact that her music is such a departure from anything her sister Beyoncé does, or has done artistically. It was purely R&B, and one can really hear the Motown roots deep within her music. We had our own little dance party in the crowd going as she played some fun music for us. They also played a good cover of “Stillness is the Move” by Dirty Projectors off the album Bitte Orca.
Solange Knowles at RBC Bluesfest. PHOTO: RBC Bluesfest Press Images
Lo and behold, the sound was completely terrible. This has been a recurring theme at Bluesfest this year as it seems that each show is plagued with either botched wiring or a sound guy who prefers to smoke crack instead of man the soundboard properly. I couldn’t believe that it happened again, and after seeing the lead vocalist Terry Hall of The Specials flip out and essentially bail on the set a few days prior because his mics weren’t working properly. This kind of thing is unprofessional, and quite frankly, completely unacceptable for a music festival of this size. It’s embarrassing. Solange handled the track issue with tact and continued the best she could. The set wasn’t bad, but there did seem to be a lack of energy on stage at times. I wasn’t sure whether this was due to frustration with the sound issues or it was just how they performed.
Passion Pit was the band I decided to see over the rest of them. It was a gut instinct, I felt like it was going to be a crazy show. Of course, I would have had an amazing time at any of the other shows too. Passion Pit got on stage 10 minutes later, and they looked pretty nonchalant. Maybe they were tired, or maybe they assumed that Ottawa was just another lame city. Whatever it was, this lax attitude didn’t last long.
They opened with the first single off Manners called “The Reeling”, which elicited an explosive reaction from the crowd. Lead vocalist Michael Angelakos’ voice was right on as they began to feed off the crowd’s excitement and energy. After the first song, Angelakos looked pretty surprised as the crowd was screaming for more. They played other songs such as “I’ll Be Alright”, which utilized heavy synth bass tones and interesting effects which were layered really well. The sound worked well this time too, which was a relief. Maybe they took that extra ten minutes before the set to ensure everything was good to go, who knows? Either way, hearing tracks such as “Take a Walk”, “Little Secrets”, and “Carried Away” made the crowd burst with the enthusiasm and joy. One thing I have to mention is how incredibly talented I thought drummer Nate Donmoyer was. His skill was so apparent he made extremely complex drum parts flow with ease. Donmoyer was the heart of the band’s live appeal, as he viciously attacked the drum kit one song after the other. I knew Passion Pit was a great band, but I have a higher level of respect for them now as I witnessed the complexity and diversity of instrumentation they employ. It’s much more than just synths and computers.
I classify Passion Pit’s music as poppy, happy music to dance to, and that is exactly the reaction it received. Throughout the set, Angelakos and the band were also bursting with excitement and interacted with the crowd more frequently. At one point, hundreds glow sticks were being thrown into the crowd and on stage. It was as if people were just there to party and have fun, which is a departure from some of the other sets I’ve seen at Bluesfest this year. The night ended with the band playing a one-song encore, which was “Sleepyhead” from their first Chunk Of Change EP (2008). The crowd had been chanting for it, and they obliged. I can confidently say that I don’t regret staying to see Passion Pit, as they gave us an incredible performance. The rush and exhilaration of a show like this leaves one feeling fulfilled, and will certainly go down as one of the most memorable sets I’ve ever seen at Bluesfest since the beginning of time.
It’s that exciting time of year when Bluesfest is upon us, promising two weeks of music-packed evenings, rain, suffocating humidity, and a whole bunch of sweaty people. The first day was no exception, as clouds tumbled in from afar and looked as if they were ready to offload some serious precipitation on us. Luckily, it was a near miss as the storm seemed to hover just north of LeBreton. The sun did eventually come out, saving us from yet another stormed-out Black Keys set.
One problem with music festivals is that timeslots clash. Jimmy Eat World and Bahamas were on at the same time, so Eric and I split up and went our own ways to cover our respective acts. I suppose you can’t be two places at once, but we got about as close to doing so as possible. As I sauntered over to the Bell Stage to catch Jimmy Eat World, the sun started to break through and that festival rush really hit me.
Jimmy is one of those bands that I don’t listen to much any more, but still hold close to my heart. Throughout my teens and just into my 20’s, Jimmy was that band that my adolescent self could relate with, fitting right in with the pop-punk heroes of that era. I nestled into a nice spot close up and got there right in time to hear “The World You Love”, which is an anthemic song about how everything as you know it changes as you get older (my interpretation, anyway). I was transported into my 19 year-old self at this point, at the cusp of adulthood and dealing with friends moving away and new responsibilities.
Jim Adkins of Jimmy Eat World at RBC Bluesfest in Ottawa on Thursday, July 4, 2013. RBC Bluesfest Press Images PHOTO/Marc Desrosier
Their set continued with old and new. They played many songs like “Futures”, “Work”, and “Pain”, off Futures, which is my favourite album by them, and older ones such as “Sweetness”. I had seen a live DVD by them years ago and lead singer/guitarist Jim Adkins’ vocals were horrendous (perhaps poor audio quality). I think deep down I had assumed that any live performance would be the same outcome, but I was so relieved that the opposite was true. His vocals were spot on, and the band played like the seasoned veterans they are. They continued with new songs off their record, including “Damage” and “Appreciation”, which weren’t as epic as their older tunes but still well-written and catchy nonetheless. Perhaps not as relevant as they used to be, Jimmy Eat world still won over audience with their strong catalogue, ending their set with “The Middle” and getting the crowd to dance their hearts out.
Next on the bill for me was DVBBS (pr. “dubs”), a Toronto-Based electronic duo consisting of bros Alex and Chris Andre. This music isn’t really my thing, but I’m always down to check out different styles if it sounds good. Hearing about these dudes online, I found out that they’ve shared the stage with Tiesto, Steve Aoki, MSTRKRFT, LMFAO, and Calvin Harris. Their mixes were well done and I was impressed with their choice of samples, which included Florence and the Machine, Icona Pop, and a mix of genres including rock and reggae. Pretty much, it was party rock central, and I was one of the oldest guys there. You know, like the only guy at the party with a full beard. Despite my slight discomfort with this realization, the set was solid as people went nuts when the bass “dropped”.
DVBBS
I left DVBBS a little early to stake out a spot for The Black Keys at the Bell Stage. They eventually emerged and began their set with “Howlin’ For You” off Brothers. Right off the bat it was apparent that someone fucked up. Not the band though, the sound guys messed up lead singer Dan Auerbach’s vocals AND guitar. The problem persisted throughout the set, some songs were worse than others in this respect, but their performance was legendary nonetheless. I had seen The Black Keys at Lollapalooza 2007 before they made it big with Brothers, and coincidentally, the power went out during their set. Add on a massive thunderstorm at Bluesfest 2011 that almost forced them to cancel their performance, and I begin to think I’m a curse upon the band.
I don’t know what else to say other than that Black Keys are one of this generation’s defining bands, bringing real rock and roll, raw musicianship, and impassioned stage presence to the fold on a consistent basis. The spectacle was mesmerizing, as Patrick Carney slammed his drumset into oblivion and Dan Auerbach showed his true skills while masterfully dominating his guitar’s fretboard. The Keys played newer, more well-known material from Brothers and El Camino, such as “Next Girl”, “Tighten Up”, “She’s Long Gone”, “Gold on the Ceiling”, and “Little Black Submarines”. With each of these, the crowd played a back-up vocal role while reciting each lyric word for word. During the quiet acoustic verse of “Submarines”, Dan brought out a beautiful-sounding steel hollow-body acoustic guitar. Between verses, the lights went out, only to lighten up again with Dan equipped with his electric to finish off the song loudly and intensely. Songs like “She’s Long Gone” boasted perfectly over-driven guitar tones from Dan and thunderous percussion from Patrick, reminding me why this band has been a saviour of music in an age of prepackaged shitty rock bands.
Dan Auerbach of The Black Keys on Thursday, July 4, 2013. RBC Bluesfest Press Images PHOTO/Marc Desrosier
The rest of the band left the stage mid-set so that Patrick and Dan could play some old school songs with just the two of them. Playing one of my favourite from their pre-Brothers era, “Your Touch”, the sound was so genuinely good that it was hard not to rock out a bit. People were crowd surfing and jumping all over. The band ended their set with “Lonely Boy”, and “She’s Long Gone” a great song off their album Attack and Release.
Other than the two people that passed out around me, and a near fight between two older women, the night was a really positive experience. Here’s to hoping the rest of the festival follows suit!
Last night marked the beginning of this year’s increasingly popular Ottawa Dragon Boat Festival 2012, and I popped by Mooney’s Bay to soak in the evening sun and catch some of this year’s bands. What’s even better is that these events are free all weekend, which means people of all walks of life can witness some great Canadian bands in action – from families to die-hard fans.
I was most excited to see Prince Edward Islanders Paper Lions, as their ever-growing catalogue of great music captures the spirit of what Canadian indie is all about. After releasing their acclaimed full-length debut Trophies in 2012, their recent EP release At Long Creekhas been turning heads and was the #1 most listened to stream on Exlaim.ca. Bringing enthusiasm and on-stage character, these guys rocked the diverse crowd into the night as the warm sun set over the festivities. Plus, seeing kids dancing like no one’s business up front is an excellent indicator of a great sounding band… it brought a little warmth to my heart knowing they may be the inheritors of this great Canadian sound in the future. After a fun set in which the crowd was involved with singing a few refrain melodies, I was able to meet Colin, David, Rob and John of Paper Lions backstage and get a few words from a couple of the guys:
Ottawa Showbox 