I Heart the Music: Your Online Source for Live Music Reviews and Interviews in Toronto!

With an audience where only the fans in the front row knew them well enough to sing along, Yukon Blonde was one of those delicious surprises that only a music festival like CMF can serve up on an (almost) otherwise tasteless platter. They captured everybody’s attention faster than you can say “record deal”. Both the roaring crowd and this fresh, 6-piece, Kelowna-grown band were in utter jollification singing and dancing along to the guitar-based, harmonics-infused, feel-good-about-life music. Keep an eye out for these guys….

All hail the front woman! The Balconies: finally an act with a chick leading the dicks! Though they suffered some technical difficulties, some even from rookie mistakes (wonky duct-taped mics, occasionally inaudible vocals, and some missed cues), give them some time to tighten up live, and The Balconies could become ubiquitous. Jacquie Neville who fronts – and demolishes – the rest of this 3-piece pack matches her killer voice with hard as hell baselines, and a mélange of grunge, punk power pop. Throw in some edgy attitude and a little demonic subtext, and The Balconies could corrupt even the sweetest of Susie Q’s. But it is fun music – never serious – making their performance all the more inclusive, and a must-see.

Next up were the boys from The Wooden Sky. Only one or two songs in their entire 9-song set did I actually recognize as being The Wooden Sky that I knew. Gone were the velvety soft melodies and tender-hearted vocals of their latest album, favoured was a performance driven by heavy folk rock. Gavin Gardener began the set outfitted as your typical hipster country bumpkin, only to rip off his glasses and tear away the plaid and carry the rest of the hardcore folk set in a dirty, over-sized beater. Surprisingly lacking in texture, this fast-paced performance of screaming vocals and hard-working instrumentals was nonetheless unapologetic, showcasing an alter-ego, an unfamiliar layer of the band’s meaty musical personality.

Two Hours Traffic held the prime set spot, but didn’t deserve it. Indeed, their wimpy pop sound, their conservative and uninspiring stage presence, their stale riffs and processed arrangements, and Liam Corcoran’s baseless vocals were all a disappointment for a billowing crowd awaiting their arrival. Traffic barely received a quarter of the response that (far lesser known) Yukon Blonde and The Balconies garnered. Re-affirming the age-old argument that there can be a negative correlation between talent and popularity- Two Hours Traffic sucked.

Although the crowd thinned out after Two Hours Traffic, spirits seemed to have lifted once The Junction hit the stage. Though the two bands share some musical characteristics, there are important differences that favour the latter. The Junction has way more edge, harder riffs, and what looks like a genuine desire to be on stage. A definite product of The Strokes/Killers/Kooks musical generation, The Junction perform with a refreshing sense of light-hearted humility. They are nevertheless a little predictable, and their sound a little “been there, done that”, so give the album a good listen before venturing out to their live show.

as reviewed by Brittany Smith

photography provided by Nancy Kim

iheartthemusic was pumped when we heard that our beloved favourite, Bend Sinister were kicking off the Friday night showcase at the Horseshoe. With the sea of talented and hard working indie bands our fine country has to offer, penetrating a fan base other than the devout indie scene can be a challenge. This performance proved Bend Sinister has the range and appeal to connect with masses. Unbeknownst to front man Dan Moxon, we were on the scene prior to the band’s sound check.  His calm nature was evident as he gathered his thoughts and prepared his set list prior to the show. Once the band hit the stage they unleashed a collective surge of energy which earned them the unwavering attention of the audience for the duration of the show. Stand out tracks included a new addition to their repertoire “Can’t Change Your Mind” and the better known track “Time Breaks Down”. Dan displayed his impressive vocal range in “It’s the Little Things You Do” and the ever uplifting track “Things will get Better”. Featuring an insane guitar riff by Joseph Blood, they finished off the set with a cover of “Don’t Stop Believing”. Check out their website where they are giving away their music for free! Or better yet, see for yourself next Thursday March 25th at the Rivoli!

Next to hit the stage were CMW veterans, The Dudes. These guys are incredible musicians with a lot of heart-displayed greatly through their lyrics. Notable tracks included the cheeky track “Girl Police” and “Pretty Lies” which, front man Dan Vacon remarked “was on the radio” so don’t hate them. Dan has great performance ability, prefacing all songs with relatable stories. He wrote “Not S’Pose to Call” about his ex which he wrote when they “weren’t cool for a while, especially when I broke up with that bitch.” Yikes. While the subject matter may lead one to expect an aggressive sounding track, it is actually an incredibly catchy tune which showcases the bands southern sound. The Dudes kept the passion going with “Mr.Someone Else” featuring the cowbell, which is arguably the best instrument ever. Another highlight included “Ghosts We’re Buried On” which Vacon wrote about his grandfather. We were fortunate to catch up with these likable dudes before the show. Look out for the interview later next week.

It was refreshing to hear the female voice of Antonia Freybe-Smith (Vocals/Keys) when Jets Overhead hit the stage.  Simply put, Antonia brought this performance from good to great. They started things off with an incredibly unified performance of “Sun, Sun, Sun”. It was uplifting, inspiring and memorable, attributes which can only truly be recognized when hearing this song live. With the bar set high, they kept the quality going for the entire set. The bands introspective vibe shone through in their performance of “No Nations”, “Heading For Nowhere” and most notably “Where Did You Go” which marked another exceptional performance. “Where Did You Go” is an absolutely beautiful song, I suggest going to listen to it right now.

Next on the roster was Melissa Auf der Mar; to say the vibe changed drastically would be an understatement. It felt as if we were teleported into the early 1990’s. I suppose this makes sense considering Auf der Mar toured with The Smashing Pumpkins for their 2000 tour and was Hole’s bassist for five years. While there is no denying her talent, it felt like we were in a different decade. It’s a shame her solo career didn’t start earlier. That said, she rocked the Horseshoe. No complaints here. The only thing missing from this performance was pyrotechnics.

Hot Hot Heat hit the stage next and brought us back to 2010. These guys played an amazing set showcasing great new material and the better known tracks “Middle of Nowhere” and “Talk To Me Dance With Me”. Having just signed to Dine Alone records, (which picked up the CMW award last Thursday for Best Canadian Independent Label) their collective energy was palpable.  At the end of the set, Steve Bays (vocals and keyboards) gave a shout out to the couple making out during the whole show. That was funny. Look out for their new album Future Breeds which comes out in June.  

as reviewed by Catherine Russell

photography provided by Mike Palmer

CMF Friday night at Lee’s Palace began in the freezing cold rain where beefed up, power-tripping-on-overdrive bouncers and door staff didn’t understand the idea of a media pass, refusing entry and re-entry to the people there to cover the show. Some disorganization, and a lot displeasurable attitude from the security and ticket staff, media people were held hostage within Lee’s Palace, unable to go outside unless they, in the words of ‘Ms. Door Staff Bitch’, “wanted to stay there”. Once the show began we were glad to have opted for the hostage route considering the powerhouse lineup that night delivered immeasurably wicked performances.

Although they served to set the tone perfectly, there’s no doubt Winter Gloves could have killed it by playing a later set, with a larger, warmer, more loosened up crowd. A much more keys-centred, textured sounding rock set than was maybe expected, Winter Gloves know how to demand your attention. Having twice as many instruments than band members on stage (coupled with the ability to play with both hands and feet) it is always a sign of good times to come. Strong vocals and an amazingly enthusiastic frontman didn’t hurt this post-rock/electro mix either; think of the best performance this musical hybrid could produce, and you have Winter Gloves live.

For how up-beat, interesting and wacky their music is, The Russian Futurists didn’t have the stage presence you’d expect. Frontman/creative mastermind behind the group, Matt Hart, not only neglected to touch an instrument or synth board, but was a marble statue at the mic all night. Oddly enough, he had more presence cracking jokes and just being natural in between songs than he did during their set. A couple of really fun orchestral choruses, a wicked drummer capturing the spotlight, a surprise duet with Ruth Minnikin, and some impressive Spector-inspired sounds were the highlights of this otherwise blah performance. Although their music is forward-looking, different and undeniably creative, the crowd also seemed unsure of what to make of their live show.

The Acorn live is way less sad and boring than I thought they’d be, which is always a welcomed surprise, especially from a band whose album better suits a good Sunday morning listen over a Friday night. Three or four guitars, a very personable frontman with a buttery soft voice, and a crowd quite obviously there to see them, The Acorn dazzled. Subtract a couple yawners, and a guitarist that randomly disappeared in the middle of the set, and this band of brothers can really carry a performance – confirmed conclusively after receiving a massive(ly good) response from the boisterous and heartening crowd.

What’s always forgotten is that Plants and Animals is a 3-piece band. They are so heavy and have so much depth, it’s a wonder that this transfers onto the stage so flawlessly. An exponential increase in intensity making their sound fucking explode off the stage, these guys know. how. to. rock. out. Contrast this with Spicer’s fantastical, yet solid voice that could carry over an ocean, and you’ve got one of the toughest acts to follow. Lengthening the bridges and jamming around arrangements; putting some echo effect on the mic and pulling the drum kit forward, all added so favourably to this hub of greatness. Complete with perma-smiles and dropping jaws, it only took one glance around the room to reveal the general verdict of this performance. Oh yeah, and they mostly played stuff off their yet-to-be-released album. Jesus. These guys are good.

As reviewed by Brittany Smith

photography provided by Aaron Alleyne

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