We’re excited to present the first look at Nightshades‘ new video for “Double Vision,” which appears on the recent self-titled album released on November 15th.
The album is somewhat of a departure from their previous EPs, slowing things down and simplifying the song structures while maintaining the sludgy and gritty elements that many of us know and love. While the tempo has slowed a bit, lead vocalist and guitarist Mallory Giles chose to hone her songwriting skills and focus on lyrics and melody over speed and complexity of instrumentation.
“After the ‘Wendy EP’ we wanted to take some time to write a full record. Things came together pretty slow,” she explains. “I had a huge writers block last winter and it was scary. I thought ‘well that’s it. I guess that’s over’.”
“I was grabbing at straws, trying to find inspiration and I ended up borrowing a bass off a friend. I started fiddling around with it and it became this cool new way of looking at music. I wrote a few of the songs off this new album on that bass and transferred it to guitar. Just playing with power chords and slowing things down, developing less complicated structures. Just taking it easy, and focusing on melody and story.”
“I think that’s kind of where we were all at. Just growing up, and chilling things out. And once Dean joined the band, his style of bass playing was pretty relaxed, and we were into it. We still have some heavy songs that Geoff wrote, and I don’t think we’ll ever not be a heavier band, but things are less rushed now. I think I was kind of hiding behind speed before because I wasn’t very good at my instrument. Playing really super fast felt easier and less scary. Now that I’ve developed as a guitarist, and we’ve grown tighter as a band, we can take a step back and just like..go slower. It’s funny, cause we’re still pretty fast, just not as insane as we used to be.
Nightshades channel the fuzzy sounds of 90’s alternative bands such as The Breeders and Sonic Youth, bringing with them punchy and distorted tracks that draw listeners in. Any fans of Kim Deal-era Pixies will surely fall effortlessly into Nightshades as their new self-titled album maintains a fun and upbeat aesthetic throughout, and doesn’t take itself too seriously. However, the songs seem more carefully crafted and it’s obvious that the band took time to put this one together.
Another thing that doesn’t take itself to seriously is the video for “Double Vision.” Directed by filmmaker Rob Bennett, the concept sees Giles going on some terrible first dates which take psychedelic turns.
“On those dates I would see like figments of my imagination like masked unicorns and masked characters and they would try trip me out while I was out with these guys,” Giles says. “IOn the day of the shoot, we were sticking to the plan, but we ended up having fun and trying different shots of us dancing and stuff, and me lip synching… It turned into this whole other thing that we all found really fun, funny, and great. It feels like a real rock n’ roll music video now. Not too serious. Not too much sense made. The original concept was actually pretty dark. I think it’d be cool to write a play or a short out of it one day.”
“Working with Rob was easy. He had killer gear, was a total pro, and had some really great on-the-fly ideas too. Rob is a musical mastermind in his own right and knows a ton about rock n’ roll. So making a rock video with him was effortless.”
Nightshades are set to released their new album on cassette this Saturday at The Rainbow, along with Montreal art punks Smokes, Ottawa heavy-hitters Bonnie Doon, and up-and-comers Slow Dawn. Tickets are $7 and doors at 9 pm, 19+ only. Check out the new video for “Double Vision” below, and stream to the new album online here.
It was a great scene at Zaphod’s as The Superlative and Metronome Jones played a show to raise money for Fort McMurray.
It is important to remind ourselves of the power that music possesses. From lyrical content to sweet riffs to the raw energy of a live show, music can be such a great tool for bring people together to better a situation. In this case music was used to help with the more than 88,000 residents displaced by the wild fires in Alberta, some of whom have lost everything. They raised $2200 via ticket sales, a portion of band merch and bar sales, ad revenue from live streaming the show on Blast The Radio, as well as a raffle with a ton of great prizes that were donated to the cause.
Metronome Jones rocking for Fort McMurray at Zaphod’s in Ottawa.
I was unfortunately running a little late, so I missed Missioner. This meant that my night started with Metronome Jones. It The three piece rock ensemble from Ottawa were great and I really like the singer Matthew Yorke’s voice. They certainly have elements of blues and some tinges of grunge to go with their rock sounds. Their most infectious song is without a doubt “Manic Enough.” From the intro featuring Yorke’s vocals over nothing but claps to the catchy upstroke riffs as the song progresses towards a very dancy chorus. Great track that had people swaying their hips. The band also happened to cover “I Bet You Look Good on the Dancefloor” by the Arctic Monkeys which was quite the treat.
The Superlative headlining a fundraiser for Fort McMurray at Zaphod’s in Ottawa.
Headlining and organizing the festivities was The Superlative. Trying to label this band as alternative rock or pop-punk does them such a disservice. The boys in The Superlative push the boundaries of genres flowing from reggae and ska tracks, to more traditional alt rock to songs with elements of screamo or post-hardcore.
They opened the set with “The Truth Hurts” off their third record In Love & Debt and I don’t think lead singer Charles Lapointe stopped jumping or stepping up on the monitors from that point. The band certainly feeds off his energy and you can’t blame, the man never looked tired and was all smiles the whole time. I am a sucker for their more ska style tracks so I loved performances of tracks such as “Breaking the Bond” and “JAMaca,” that really make you want to dance. The Superlative are so tight when they are channeling their ska/reggae influences they could probably be an awesome ska band if they focused on just that, but I am glad they keep it wide open and offer such a range of tracks. It was also great to hear them play “Keep it Here” live, because it transported me back to a few years ago when they jammed the track for me when I went to interview them (video here). The band through in a cover of Christina Aguilera’s “Your Body” for good measure and eventually closed out the night “Something to Die For,” before returning for an encore.
I may not have won anything from the raffle, but it wasn’t about that. I had one hell of a night watching a community get together to help out their fellow citizens and if that doesn’t warm your heart and give you hope I don’t know what will.
Frédéric Levac chante et joue le clavier dans le band franco-ontarien Pandaléon, un trio electro, rock alternatif basé à Saint-Bernardin. Ce vendredi, le 29 janvier, ils lançeront leur deuxième album Atone, un LP enregistré dans une école abandonnée où Frédéric et son frère, le batteur Jean-Philippe, ont été comme ti-culs.
La semaine d’avant, Pandaléon à remporter trois prix au Contact Ontarois, un événement vitrine de musique francophone. En discutant le Prix du Festival international de la chanson de Granby, le Prix Festival Franco-ontarien, et le Prix Festival de l’Outaouais Émergent Prix ROSEQ, Frédéric a dit: « Honnêtement on le fais pas pour gagner des prix, on le fais pour que le monde trippe sur notre musique pis qu’ils aiment le show. »
Dit comme un vrai fan de la musique. Les deux frères et le guitariste Marc-André Labelle vous invitent au lancement d’album gratuit dans le théâtre de la Court des Arts le 4 février.
Il y a beaucoup de référence à la bouche, aux lèvres, à la langue sur Atone. Pourquoi?
Pour moi personnellement, ces sujets—de bouche, de lèvre, de gencives—ils m’allument beaucoup. C’est une bonne remarque parce qu’il sont partout mais c’est quand même subtile. Peut-être que c’est arrivé par hasard…
Que veulent dire les paroles de la chanson « Banny »?
Dans cette chanson, c’est à propos de la langue qu’on parle, le langage. Ça parle de relations humaines de partout dans le monde, et d’un voyage en Australie. Nous nous sommes retrouvés là, des gens de l’Indonésie, de l’Israël, des États, de l’Allemagne, et on ne se parlait pas vraiment. Mais on se comprenait en regardant le ciel—le ciel le plus éclatant que j’ai jamais vu de ma vie. Ça nous disais beaucoup de choses.
Que veulent dire les parole de la dernière chanson, « Atone »?
Le vide engourdit mieux
Que la distance
Tu n’es revenue que pour repartir
Simplement, des fois avoir rien c’est mieux que d’avoir quelque chose mais au loin. De toutes les 10 chansons, c’est la seule pièce qui prend place au présent, puisque que c’est vraiment un album qui parle du passé. Mais le thème de non seulement quelqu’un qui part, mais aussi qu’il y a quelqu’un qui reste là, ce thème est là.
Qui a eu l’idée d’enregistrer votre album dans la vieille petite école?
Mon frère Jean-Philippe, le drummer, et moi on y est aller a cette école. Ça été abandonner et on passait souvent par là, parce que c’est proche de chez nous et on y est allez à cette école. On disait qu’on devrait enregistrer là, y’a plein de places à capter des sons avec des micros. Parce qu’on trippe vraiment là dessus! Alors on attendait juste le bon moment.
Pendant un an et demi on écrivait des chansons qui avait de plus en plus à faire avec la petite école. Alors on a pris des démarches pour avoir accès pour un mois, au mois d’août. On s’est enfermé là pendant cinq semaines. C’était un peu comme du camping. Nous trois avec notre enregistreur Nicolas Séguin.
Est-ce que les chansons instrumentale « Lecture » et « Pythagore » ont été enregistrées dans les salles de lecture et des maths?
Oui et non. « Lecture » c’est une pièce en qui recrée l’effet de marcher dans les couloirs de l’école et d’entendre les profs à travers les portes, tu les entends mais pas clairement. C’est l’expérience de prendre une marche dans le couloir de l’école, créé par une tonne de bruits bizarres.
Pour « Pythagore » on a enregistré une centaine de portes qui ferme, au moins. Oui, on adore ça le son. Vraiment, on est sorti de là non seulement avec l’album mais aussi en ayant eu le temps d’essayer plein de choses. On a fais plein d’expériences qui sont pas sur l’album parce qu’ils marchaient pas, mais au moins on a pu les essayer.
Ça été une expérience très enrichissante.
Avez-vous eu des rêves bizarres?
Même pas malheureusement! Bein j’veux dire oui, parce qu’on a tous des rêves bizarres tout le temps. Mais la première nuit, c’était bizarre, on se demandait si l’école était peut-être hantée. Finalement rien ne s’est passé d’anormale. Ça a été un feeling très spécial d’y retourner, et en plus de ça faire ce qu’on aime le plus dans la vie dans cet endroit la. On était vraiment excité d’y avoir accès et on a revécu plein de vieux souvenir.
Est-ce que la photo de la pochette vient d’un des murs des couloirs?
Plus précisément dans la salle de bain des filles! J’ai remarqué le croquis et notre photographe aussi mais on s’est rien dit que dans la dernière semaine là. Il y avait un genre de croquis en arrière de la peinture. On sait pas c’est quoi… mais c’est un petit dessin super intriguant. Finalement c’est devenu la pochette.
Ottawa’s grunge and emo revivalist PINE recently released a great new video and 7 inch split.
First let’s start with the amazing 90s nostalgia that the video for “Waste” conjures up. The music is a great slow build which grows finally topping out with a big rocking finish. On top of all that the video features yellow, green and blue colour overlays of the band performing. I love it. So simple, yet psychedelic, beautiful and it really works having the lead singer or lead instrument of the moment at the forefront. As the song works its way to the climax the fades and overlays become more and more chaotic really driving home and complementing the more aggressive vocals.
The band also released a 7inch split (on really cool looking vinyl I may add) with Dead Leaves from Cleveland, Ohio via Take This To Heart Records. The release features 2 tracks from each band, “Waste” and “Lopri” by PINE and “I’m Sorry, Darling” and “Recycled Air,” by Dead Leaves. This split is a must listen to for fans of bands like Brand New and Balance and Composure. Check out the split below.
A sweltering Saturday afternoon, with crowds that were much more manageable than on Friday, made for a great day 4 of RBC Bluesfest. Save for a bewildering set from Allie X, everything I caught on the day was pretty captivating.
Shakey Graves performing at the RBC Bluesfest in Ottawa on Saturday, July 11, 2015. ~ RBC Bluesfest Press Images, Photo: Scott Penner
Shakey Graves beamed with charisma and perfectly captured an Austin, Texas, vibe during his set in the early evening at the Canadian Stage. Indie-folk rock in the vein of Tallest Man on Earth with some blues sprinkled in, he even controlled some of the driving percussion with his own feet and a suitcase drum. He engaged the crowd and spoke of songwriting as a teenager, when everyone feels like they already know it all. For those in the audience who didn’t already know Shakey Graves, he surely left a lasting impression.
Nas performing at the RBC Bluesfest in Ottawa on Saturday, July 11, 2015. ~ RBC Bluesfest Press Images, Photo: Scott Penner
Hip hop legend Nas showed that he still has it when he rocked the Claridge Homes Stage performing hits from his career that spans more than a decade. Shouting out cassette tapes and former peers like A Tribe Called Quest and Boogie Down Productions, it was refreshing to see someone still commanding the stage so many years later. Opening with the energy of “The Don”, his set lost absolutely no momentum moving forward. Gems like “Halftime” and “It Ain’t Hard To Tell” had intro medleys that made them sound fresh and new. Though a veteran, Nas shows no signs of slowing down anytime soon.
Alvvays performing at the RBC Bluesfest in Ottawa on Saturday, July 11, 2015. ~ RBC Bluesfest Press Images, Photo: Mark Horton
Toronto’s Alvvays have gone from playing venues like Ottawa’s Zaphod Beeblebrox to the largest music festival in the world, Glastonbury, in only the span of a year. This meteoric rise is likely based on the strength of their eponymous debut, and their infectious single “Archie Marry Me”. Their dreamy brand of indie pop, and the floating voice of lead singer Molly Rankin perfectly gelled with the fading day in Ottawa. “Adult Diversion” and “Ones Who Love You” join aforementioned “Archie” as highlights of the set.
Iggy Azalea performs at the RBC Bluesfest in Ottawa on Saturday, July 11th, 2015. ~ RBC Bluesfest Press Images
The interesting thing about having Iggy Azalea headline the day after Kanye West is that they’re both pretty polarizing figures. While Kanye West alienates some with his persona, no one can question his music. Iggy Azalea on the other hand poses some interesting questions when it comes to her place in hip hop and popular music overall. Having a hip hop icon like Nas basically open for her only serves to further that scrutiny. Despite all this, if you view Iggy Azalea as a pop artist (like how one would view Vanilla Ice in the early ’90s), then there’s not much that you can fault her for. She is dynamic, attractive, and knows how to work a crowd. She was engaging with choreography and her hits like “Fancy” and “Work” had everyone bouncing. Though her set clocked in at less than an hour, she worked hard on that stage. If you can get past her almost-offensive Southern US affectations, then you might even say that she’s a star. Looking around at the smiles in the crowd of mostly young females, I’m sure they’d say as much.
After 20 years of orchestral & classical concerts put on every July by the Ottawa Chamber Music Society, it’s this anniversary event that will be the Ottawa Chamberfest’s most ambitious line-up to date. While asking around about which locals acts to see, I was informed the international talent simply can’t be ignored at this year’s festival, which runs from July 24 to August 7. It might not be common knowledge that the Ottawa International Chamber Music Festival is the largest festival of its kind in the world, but it is! Over 15 days without pause, most days will go from 10 a.m. to curfew, and span seven venues for almost 100 performances. Small ensemble music has never been so big!
We’d love to preview all performances but we can only offer you Showbox’s Top Picks for the 20th Ottawa Chamberfest :
The Don Byron Quintet & Divine Brown will wow us with new sound on Friday July 25, 2014 at Saint Brigid’s Centre for the Arts.
Don Byron is an amazing clarinetist with a legendary creativity for finding what is said to be “a sound above genre.” This New York musician and producer will play clarinet and saxophone alongside Divine Brown, R&B singer and JUNO Award winner from 2009. We also have it on good authority that the powerful Gryphon Trio (well-ingrained in the making of this Festival) will showcase their music on Aug. 6, absolutely essential viewing! And if you’re looking for something that you’ve never seen before, we highly suggest Luminico on Aug. 3.
JUNO Award winners The Gryphon Trio are the Festival’s Artistic Advisors James Parker on piano & Annalee Patipatanakoon on violin and Artistic Director Roman Borys on cello. They will play at the Dominion-Chalmers United Church on Wednesday, Aug. 6, 2014.
Amanda Forsythe will perform Il trionfo del tempo with three other soloists and the Pacific Baroque Orchestra on Aug. 5, 2014 at Dominion-Chalmers United Church.
Not a gala, but definitely the event of the whole festival — Chamberfest @20 will be a variety of all music that has played over the last 20 years at the Chamberfest. There will be approximately 13 different ensemble playing a wide range of styles and hosted by Eric Friesen, it will be at Dominion-Chalmers United Church at 7 p.m. on Wednesday July 30. We also have to mention incredible accordion player Manu Comté with his tango Nuevo ensemble Soledad will be performing at Dominion-Chalmers United Church on July 26, their first performance in the nation’s capital! And finally, from Aug. 6 to 7, Ensemble Caprice of Montréal will celebrate their 25th year as an ensemble by paying homage to the great German composer Johann Sebastian Bach during The Bach Summit. Sixteen works over four concerts, as well as the Brandenburg Concertos in just two days!
Any Ottawan at Lebreton Flats yesterday witnessed a line-up that spanned a large spectrum. Once again the RBC Bluesfest showcased local talent from the start of the day at 1:30PM at the River Stage with five openers from Ottawa. Sound of Lions gave us no chance to be off our game. The crystal clear vocals of Whitney Delion matched to Christian Awad’s rap while on the keys woke us up, and let us know we were in for an eclectic day. Ambient organ, emotive guitar and heavy bass with the contrast of vocals work especially well on their song “Storm Chasers.” Their bassist was quaffing white wine out of the screw top bottle, and that was okay.
Sounds of Lions opened the River Stage on July 12 at RBC Bluesfest. Photo: Joseph Mathieu
From the sound of lions to the Lion himself, we made our way to Claridge Homes Stage to see Atherton. The announcer asked us to give our very own MC “a big Ottawa welcome,” which struck me as odd until I realized she hadn’t mentioned he was from the 613. She probably didn’t know. But we know! Coming into his own as the alpha of a pride of young cats, this rapper songwriter has been emceeing our wildest nights at Mugshots & Erling’s Variety, and as the anchorperson for HHK he’s made his bones many times over. DJ So Nice warmed up the kids at the front of the stage for what would be, in my humble opinion, the Stage’s best line-up of the festival.
Since we’d get pummelled with hip hop for most of the day, we opted to discover what Wicked Grin was all about at the Black Sheep Stage. Ripe blues rock, copious harmonica and witty lyrics. They covered some good songs by Susan Tedeschi: “Homemade cooking really does the trick, your cotton ain’t rotten it just needs to be picked,” and Studebaker John’s “Two-time Boogie.” They have a new album out, with harmonica-player Rod Williams’ song about it being Friday (not quite as frivolous as Rebecca Black’s “Friday” but very close) and “Time & Space” which wanted to be ethereal and instead was about hockey.
Jonathan Becker & The North Fields played the River Stage on July 12 at RBC Bluesfest. Photo: Joseph Mathieu
Our local flavour, in a nutshell, could be summed up in Cory Levesque playing bass in his umpteenth band wearing a t-shirt of the recently disbanded Carraway, double fisting red wine and a tall boy of Belgian ale. Then of course there’s JS in a Robots! Everywhere!! Tee with the zeal of a Gambino girl and his homemade placard: “JON BECKER YOU’RE SO DREAMY!” Jon Becker’s bubbly rasp was the focal point of his folky rock outfit, with songs about the chill of Ottawa winters and eerie subjects like “Bones.” The rock n roll had merit but would have benefited if the keyboard could have been heard even a little.
John Allaire & the Campistas play daddy rock, straight up. Bassist and born-to-be frontman Jeff Tanguay had a split-second song called “It’s Closing Time at the Beer Store but Can We Please Just Grab Some Beer?” that was the monosyllabic negative answer they received from the Beer Store employee. Allaire had his daughter Hillary come up to sing “Let It Be” and a song about angels. He haggled her to put on more clothes and take off her makeup as she left the stage in what I understand to be the proper parenting tactic. A small faction of generation Y lined the front fence in the long wait for the headliner in six hours. Doritos, sunflower seeds & cell phones would keep them occupied since they’d already put on their red, yellow & green face paint hours before.
The Iguanas played the Black Sheep Stage with the Texas Horns on July 12 at RBC Bluesfest. Photo: Joseph Mathieu
An Americana folk band called The Iguanas were the second on the Black Sheep Stage to invite a trio called the Texas Horns to join them. By chance, the bands had crossed paths the night before and reunited as old friends with an improvised set. This band from New Orleans was a breath of fresh air on a hot day that could have been any day of the year in the South.
It is possible to find a steady path through all the sets to see as much music as possible, but you can’t stop for long and you have to plan ahead. It’s not unlike a course in the rock-climbing gym, there are long, easy ways and short, harder ways to get around.
Action Bronson fulminated on the Claridge Homes Stage on July 12 at RBC Bluesfest. Photo: Joseph Mathieu
It was by watching the mighty Action Bronson act out his spits, as he administered himself CCs in his rump or ripped an octopus out of the ocean, that we started to think about poetry. Hip hop is the modern poetry: literary works in which special intensity is given to the expression of feeling & ideas. The special intensity of Bam Bam comes from his all-encompassing love of life and all its pleasures. Anyone who raps about three different kinds of cheeses, and the marinade he’ll soak that octopus in, and clams, raisins or corned beef hash is a blatant foodie. I should probably mention Fuck, That’s Delicious… One of the issues conservative listeners have with rap is perfectly exemplified by the tender voice of Tracy Chapman being split in half by Bronson yelling: “Bitch!” Myself, I found the timing unfortunate, but any misgivings we might have with that word should be taken with a grain of salt (and a dash of olive oil). Rough around the edges doesn’t mean he doesn’t show respect in his own way, whether it’s layered deep in his lyrics or just: “This is Peter Gabriel. Make some noise!”
Bob Saget bringing us back at the RBC Royal Bank Bluesfest 2014. Photo: Mark Horton, RBC Bluesfest Press Images
All that can be said about Bob Saget is that he’s an icon of 90s pop culture who is doomed to be himself until the curtain falls. Instead of fading he’s fully embraced the odd trip he’s taken through the halls of celebrity and Hollywood. In case anyone was wondering what Ottawa’s style is, it’s lo-fi. I couldn’t agree more, thanks for clearing that up Bob! He helped us understand all kinds of things like colonoscopy, dating the elderly, Leprechauns & sucking dick for coke. One audience member called him her “spirit animal.” At one point he took up a member of the audience called Charlie and sat him on a stool and explained to him that it was okay, he was going to get laid one day, all to the soundtrack of a heartfelt conversation from a family movie. “There goes my son, Charlie,” he said. “He’s so sweet.” Later: “Now if my dick could talk I would tell it to shut the fuck up,” and “I can’t talk about Mom that way because we lost her. She touched a lot of people, yeah, and now they’re pressing charges.”
Dan the Automator of Deltron 3030 effing killed it on Claridge Homes Stage at RBC Bluesfest July 12, 2014. Photo: Joseph Mathieu
What I’m calling as one of the best shows of the year in Ottawa was Deltron 3030‘s show on Claridge Homes Stage. They don’t call them a hip hop super group because it’s pretty, these are heavyweights who have each made their way through the world of music as their own person, who have sculpted something out of nothing in big ways. We were graced with a showcase of each of their individual skills, including the sci-fi rap of Del the Funky Homosapien. Long known to be one of the illest, Del delivered his rhymes about the year 3030, where the world has far deteriorated beyond what we know to be corporate America today. The psychic landscape has changed drastically and it’s up to heroes to remind us of what we can be, how we can be saved. Thank Christ for Deltron Zero and the cantankerous Captain Aptos, AKA Dan the Automator. We found out exactly why he’s called the Automator by watching him orchestrate with little finger wiggles and full arm movements while pounding on a synth with his free hand. There was a live band supporting these two supers making their way through the future, as 3030 slowly became 3040, as well as the third of the trinity: Skiznod the Boy Wonder AKA Kid Koala. Ever wonder why they call him the Boy Wonder?
That’s why. Vancouver-born, Montreal-based Eric San has been DJing since he could lick his fingers and his beats are nothing but extra butter on top of an already wicked sound. Anyone who’s a fan of story-telling and a wide range of talents focused on one point should check out their self-titled album from 2000 and their Event 2 which just magically appeared last year. Now I wonder how old I’ll be when Event 3 rears its head…
To avoid Awolnation, we traversed the museum and discovered along the way Paul Oscher on a massive mouth organ of a size I didn’t know exsited, wailing in the Barney Danson Theatre, and Little Freddie King, the King of New Orleans Blues. His infectious jiving and shuffling across the stage had us dancing too, it’s the kind of music that makes you lose yourself.
Childish Gambino tearing it up on the Claridge Homes Stage of RBC Bluesfest July 12, 2014. Photo: Mark Horton, RBC Bluesfest Press Images
Then of course was time for the kids to let loose with Childish Gambino. Holy crap. Energy personified, with a firebrand’s grip on people. “Don’t be mad that I’m doing me better than you doing you.” Message received. His wide-eyed display of what the human body can do was mind-blowing. He was nice enough to take a crowd member’s phone and turn it from vertical to horizontal as she filmed, “you gotta hold your shit like this!” I hope everyone takes notes on that. He had a song with three drops and he made sure we knew when they were coming. Why? Because the Internet.
Snoop Dogg closed out the Bell Stage at RBC Bluesfest on July 12, 2014. Photo: Mark Horton, RBC Bluesfest Press Images
Snoop Dogg shut it down, west coast style in Erik Karlsson’s Sens jersey. He’s the type of entertainer who reminds you how many of his songs you know, without being aware of it. He played the crowd and definitely sold out the show, and despite being almost half an hour late to hit the stage he made it absolutely certain that no one in the crowd didn’t know how to spell his name by the end of it.
I had the chance to join Ming Wu on his CHUO radio show Photogmusic Live (89.1 FM) on New Year’s Eve. In the hour-long segment, we discussed his Top 12 picks of 2012, playing a track from each of the albums he chose as this year’s best. It was lots of fun, and we also got to talk to Alaska of Yamantaka//Sonic Titan (who will be in Ottawa Jan.11 with Boyhood) as well as Jonas Bonnetta of Evening Hymns. Take a listen to the different segments on the Photogmusic blog, hope you enjoy the show!