Busted limbs, broken noses, and a little bit of blood on the face is nothing out of the ordinary for Ottawa’s party punk rockers New Swears. They’ve just released a video for the track “Dance With The Devil” off of their new record And The Magic of Horses, and they crank up the gore factor to 11. That’s why we love them, along with the fact that their music will incite a party anytime, anywhere it is played. And The Magic of Horses is the band’s third full-length album, and their first with Dine Alone Records to be released June 23rd. The 10-track album is sure to be chock-full of summer party anthems with dirty melodies that beg to be blared in backyards across the country, which should go perfectly with the smell of barbecue smoke and pissed off neighbours.
The video’s timely release today also coincides with the Ottawa Senators’ first game of the NHL Conference Semi-Finals, a game which will surely have the streets packed with booze-filled hockey lovers. While we all hope the Sens avoid the kind of injuries that the band sustains in the video, we certainly wish them the best. Get amped up for the game and watch “Dance With The Devil” below, just make sure the kids are out of the room.
Don’t miss the New Swears Weekend happening at House of TARG June 23/24, they’re going full force with two record release shows back-to-back. Tickets available here.
Here at Ottawa Showbox we don’t tend to cover a lot of theatre. Actually this may be the first time. But after speaking with Megan Carty of the local theatre company Cart Before the Horse we felt we needed to start.
Cart Before the Horse was formed in 2014 by Megan Carty and Paul Griffin. They strive to use theatre as a powerful outlet to explore topics we as society are otherwise afraid to talk about. Cart Before the Horse primarily focuses on plays that explore how the world of young women has been expressed by playwrights in contemporary Canadian theatre. In doing so they have been nominated for several awards and won the Prix Rideau Award for Outstanding Direction for their 2016 adaptation of Judith Thompson’s Perfect Pie
Their latest production continues where they left off. girls!girls!girls!, written by Greg Macarthur, is a gritty drama written in response to the events surrounding the brutal death of – in Victoria, BC and the Columbine massacre in Colorado, USA. It is a fictionalized story where four young teenagers seek brutal revenge on the winner of a gymnastics competition and go on a hunt to obtain her red ribbon.
We had a quick chat with Megan Carty, co-founder and artistic director of Cart Before the Horse and producer of this show, while deep in a technical rehearsal before opening night.
How did your production of girls!girls!girls! come to be?
Being an Ottawa-based artist I find myself very hungry for gritty theatre that pushes boundaries and makes me think/feel. I came across this script about a year ago when a fellow actor of mine lent it to me and I was immediately hooked. It explored the same murder trial as a show I did a few years earlier called The Shape of a Girl, only it was a much edgier, more stylized, and a cartoon version.
I applied to the TACTICS festival for the second year in a row, assembled my dream team of local emerging artists who were drawn to the same kind of theatre and style of work as me, and then we all a boarded the roller coaster and never turned back. This process has been especially unique because although certain people wore certain hats in the rehearsal room (ie the actor hat, the director hat, the sound designer hat, etc) we all created this show together as a collective. Everyone had an equal voice in the room and each artist/idea influenced the other artists and ideas. It was extremely rewarding and the result is something I could have never imagined, behind my wildest expectations.
Given that Showbox focuses mostly on music, can you please tell me about the play’s music?
My partner, Martin Dawagne, is a professional and highly skilled composer and sound designer from Belgium. We met two and a half years ago in Toronto and instantly connected because of our passion for creation and relentless pursuits of our perspective arts – his music and my acting. Since our first encounter we have collaborated on a multitude of projects that fuse his composing with my theatre, including four productions with my company.
The sound in this piece really is a complete character of its own. It drives the entire show and has a massive presence, not just in the transitions but in the undertones of every scene. Since the play deals with themes of teenage pop culture, we chose a bunch of popular pop songs to drive our story forward, recorded original covers of our cast singing them, and then he went crazy with effects, layers, samples, and looping medals to make them as distorted as the story itself. The music of this show is not just a soundtrack, it is a full on score that elevates the production value in every way. A lot of Martin’s choices as a designer really influenced the direction we took with all the other elements – lighting, set, costume, acting choices, etc.
How important is it that we incorporate original scores in our plays?
It is written right in our mandate that EVERY production has an original score so I would say it is of extreme importance. We are a very dynamic company and I love to choose scripts that call for a lot of movement and physical theatre onstage. Of course the best thing to pair with so much action and choreography is music. And if course the music is better if it is crafted to specifically fit the needs of this specific script and production. I really believe that something magic can be created when interdisciplinary arts work together in unlikely ways. Martin and I have found that fusing our respective arts and passions really lifts the quality of both our work as artists.
If you are looking for something a little different, go see girls!girls!girls! with its wild music and which is sure to spark a dialogue with a story that will follow everyone in the audience home. girls!girls!girls! begins April 27th, with shows from April 27-30 and May 3-6 at 8pm, as well as May 6 at 2pm. Tickets available here.
Jack Moves is a solo artist from Toronto, Ontario, who has recently released his new EP I Been Working, which he has been working on for the last year.
For a good amount of time Jack took part in metal bands, and in 2014 he broke away from that genre as he found it creatively limiting. Through seeing live looping performances by Reggie Watts, he became inspired to try it out himself. He says he has yet to find his footing in this whole new genre.
His Jack Moves EP consists of four songs, all created solely with his voice, beatboxing (which is also technically considered his voice, I suppose) and a looping pedal. Not to mention, they’re all original songs. The music is somewhat electronic, however, he’s not limiting it to a specific sound.
All of the songs on the EP are high energy songs that differ from one another in rhythm and key. The first track, titled “Sleeperhold,” is one that has a faster tempo, and the second track, “W.T.P” starts very rhythmically and finishes off with a multitude of layers to it, but manages to keep it harmonious. The song “Gray Morning” takes the EP down a more sombre sounding and serious direction to counterbalance the two previous songs.
It ends with a song that, if you weren’t paying attention to the lyrics, has the hint of a rock background but has a certain vivacity to it. The song is titled “We’re Not Going Anywhere” and is probably my favourite off the EP. Knowing the title of the song and hearing the lyrics makes you realize that the song isn’t exactly as positive as it leads you to believe.
All that being said, the EP is available to listen to on Soundcloud, and comes with a free download, so be sure go check out this talented live looper.
This article appears in the April Edition of Ottawa Beat newsprint in the OSBX column. Photo: Malak performs at Shot In The Dark Sessions. Credit: SITD YouTube channel.
Tucked behind the corner of Bank Street and Fifth Avenue sits a quaint church with strikingly blue doors. On the main floor is a typical chapel; in the basement is a bohemian space brimming with recording equipment, colourful mod furniture, and a mini fridge crammed with craft beer. Hidden in the basement of 2 Monk Street is Gallery Recording Studios, run by local musician and producer Dean Watson. An Ottawa music veteran, Watson is a quietly talented figure whose expertise in record production drives a new and upcoming project in the local music community – the Shot in the Dark sessions.
Shot in the Dark is a collaborative group effort that feeds on the talent of local musicians, bands, filmmakers, and photographers, all tied together by Dean Watson and his partner in the project, Jonathan Kischel. Kischel, a local videographer and President of the digital production company JustPixl completes the film aspect of the endeavour. Together, and with the contributions of dozens of local musicians, they’ve created a unique and innovative project with a high quality output, it’s hard to believe that it is so small-scale.
Starting in 2004, Gallery Recording Studios has been producing records and music videos for all kinds of local artists. Shot in the Dark, its most unique and extensive project yet, began with a simple yet hopeful idea by Watson and Kischel. It materialized last year, and quickly grew to become an all-consuming and wildly successful series for them both.
Introduced only a few years ago, the pair’s mutual interest in the arts became a central factor of their future business relationship. Watson had previous experience with a similar project called Crowded Room, a live concert video shot for The Split. “People just loved it,” he says, “and it got a lot of traction from the band.” Due to lack of sponsors, however, the project didn’t continue. “It fizzled out,” he explains, “but I kept the idea going.”
Raphael Weinroth-Brown plays Shot In The Dark Sessions. Photo: YouTube.
Watson’s creative idea resurfaced once he met Kischel, whose experience in multidisciplinary video brought the project’s visual aspirations to life. “Over the years we chatted about this idea of having a live music series,” says the young videographer. “The fall of last year, we were fed up with just talking and decided to just do it and try it out. The first one was a leap of faith.”
“Fortunately,” says Watson, “it took off.”
Through the producer’s knowledge of Ottawa’s music network, bands quickly jumped on board for the experiment, and before too long the first session was filmed. “Before the first session was even released,” says Kischel, “the second was already shot.” Since then, each session has attracted more artists and a wider audience.
The series’ success can not only be attributed to its entertainment factor, but also to its ground-level connection to the local music market. The videos provide accessible and high quality content for up and coming bands in need of a digital repertoire. “It’s really filling a niche in town,” Kischel explains. “To get into bigger festivals, a lot of bands are judged off of their live videos. Bands need a higher quality piece other than just a cellphone in a crowd. This fills that middle ground. As the artists grow, we hope they trust us to come back for recording and music videos when they have bigger budgets.”
The videos follow a specific style, using clever lighting, foggy haze, and a subdued set to focus on the artists of the moment. All other musicians from the session also appear in the background of each video as audience members. “We want a band to jam together like they’re practicing,” says Kischel, “with all the artists from a session around them, listening and part of their crowd. It builds off the community of the Ottawa music scene.”
The simplistic, intimate aesthetic of the videos produce content that is both familiar but high-quality, creating a versatile style that can be applied to any type of music. The series boasts an impressive variety of musical genres, including but not limited to the work of folk, rock, soul, and hip hop artists. They have aspirations to expand even further.
“It’s a bit of everything,” says Kischel, and that’s the goal. “Introducing people to what is in Ottawa….We want to become a hub.” The pair hopes to work with classical musicians in the future, as well as hip-hop and spoken word artists. “We’re tying to cater to anyone who’s making art in the city,” says Watson, who hopes the project can be a local resource for both artists and music lovers in Ottawa.
Not only do the sessions provide varied content for viewers, but its collaborative, community-based nature has brought together members of the local musical scene in a supportive and innovative environment. “After the first video we realized this isn’t just a shoot,” says Watson, “it’s a networking event. A bunch of these guys connected, set up gigs together, went to each other’s gigs… which was a really cool side effect.”
The project is mainly artist funded, but has attracted the resources of Irene’s Pub and Collective Arts Brewery, who provide their local food and beer to production days. “We’re trying to build the community around it,” says Kischel. “Moving forward, we’re hoping to get more sponsors on board. Just kind of building as we go and with the artists.”
As for the future, Shot in the Dark is set for a more expansive and larger scale production. session five will be the last shot at Gallery’s location, with a realization that the project has “outgrown” its current space. “For session six,” says Watson, “we’re looking at a different, bigger venue.” The pair also hopes to partner with more local companies to help fund the project.
With the Shot in the Dark sessions being only over a year old, it’s clear that the project has an incredibly optimistic future. Watson says the pair was “caught off guard” from musicians’ interest in the project, and is still adjusting to the growing number of musicians and production assistants involved (including local Harrison Koyman, who provides high-quality photographs of each shoot).
Evidently, the project is a collaborative effort that relies on the specific talents of everyone involved – whether it’s a singer, guitarist, videographer, producer, or craft brewery. “There’s so much talent around,” says Kischel, and the Shot in the Dark sessions make that clear. The project has already outdone the pair’s expectation of their hopeful idea, but the future of the series is undoubtedly positive. More than anything, the series proves the versatility and comradery of the Ottawa music community, and its ability to connect people of all positions, backgrounds, and levels of experience to produce something incomparably creative.
After a very, very last minute decision to go to a show, I was set to take on Pressed Café on the 13th of April. For those who have never been, Pressed Café is a small coffee house and bar on Gladstone Avenue. The venue is one of the smallest I’ve seen to this day and the room itself seems to be designed to fit maybe thirty people seated. This “full house” standard was once broken, but that is a different story for another time.
On the 13th, Pressed was not a full house, however, everyone left with hearts filled with something they’d come to the venue without. For me, it was pride and hope, and lungs filled with the smoke from the fog machine (yes, they did indeed have one).
Nightshades was the first to perform, and Mallory (guitar and vocals) even admitted that at practice the night before, everything sounded amazing. But when she went on that night, she felt like it just wasn’t as good. However, I beg to differ. Their sound, although described as garage punk, thrash, or grunge, is astoundingly similar to The Breeders, and Mallory’s voice is so much like Kim Deal’s that I was completely blown away. Her vocals sweet and melodic but with a little depth that you wouldn’t expect. She didn’t hold back at all, and laughed off not being able to quite remember the set list, joking around that it’s what professional bands do. The overall sound of the band, going past just describing it as The Breeders, is gritty. Accompanied by a strong baseline that caused the building to shake was a heavily distorted guitar and some really unique drumbeats.
If you came to see Nightshades for a heavy and overpowering guitar sound, you’ve come to the wrong place. Dean’s bassline is the focus, it’s aggressive but doesn’t make a big deal out of itself and when Geoff pounds the drums, it’s truly something else. It’s not like most drummers that I’ve seen that go at the drums like Grohl. This is something that came from the late 80’s and transitioned into the 90’s. Not quite the anger from the grunge movement but definitely holds a strong element of it. It’s so well put together and the fact that the band itself seemed so into what they were doing just created a more positive experience overall. A favourite of mine was by them is for sure a song called “London Bass” because the bassline is prominent but has a unique build with the guitar.
The next band to play was one by the name of Look Vibrant. They’re a band that seems to be a bit of noise rock with a psychedelic twist to it. Here’s a better visual for you. Remember back in the 70’s when kids would get high and listen to Pink Floyd’s Dark Side of the Moon? This is a band that you would probably do the same thing with. They’re an incredibly unique band, and believe me when I say I’ve never heard anything like them. There are falsettos used in every song, but it feels just right in a strange way. With many keyboards, drums (with a broken crash symbol), and some synths, this band of five is impressive. How they fit these instruments that look like they shouldn’t be able to go together, I won’t understand, but they managed to do it all. The overall style of the band really caught my eye because they seem like what would either be considered hipster or very 80’s, but when they began, I was blown away by the harmonies and by how lost they got in the music. Not to mention how much they enjoyed performing for a small room despite the limited amount of space. Overall, the performance was one that drew you in either out of curiosity or because you genuinely enjoyed it. It was soothing and if you ever find yourself in a place where you might have a creative block or just need something to listen to while laying on your floor thinking about the rest of your life, by all means, find their Bandcamp and all of their EP’s. I especially recommend the song “Clouds” if you are going to do the aforementioned.
The last band,Smokes, was a band I found myself enjoying a lot more than I thought possible. With small moments between all the members and the way they threw themselves into it, it really set the tone of the show and created a positive atmosphere. Everyone felt like they were part of something. The genre was a strange one and verged on punk and rock, bordering it all but throwing in elements that you wouldn’t see in either. When I say that, I mean they managed to throw in a violin into the mix of guitars, and drums, changing the sound of it with many pedals, but nonetheless, it was incredibly impressive. When you learn that those few sounds that sound like a synth are in fact a violin, it blows your mind away completely and all notions of what a punk band needs to be are blown out of the water. These guys push the boundaries, and I mean that in a good way. They certainly make explorations with their music. Playing the bass more like a guitar, plucking at the violin strings, combining some guitar into that and an intricate drum beat that doesn’t remain the same throughout the entirety of every song, it was incredibly impressive to watch. They took absolutely every detail into consideration to make sure it sounded ideal. Not only that but the movements throughout the performance really proved for a more enjoyable show and challenged photography if you tried to get a shot of just one of the members. All in all, their distinct sound which faintly echoed that of Depeche Mode’s was truly money well spent. Their lyrics were insightful, especially in the song “Body Heat,” allowed emotional connections to the songs they performed.
After all the songs, save one, were performed, it was exactly 10:59 pm. People scattered and started to help dismantle the drum kit, and packed up equipment while others got a beer and handled the merch tables. During that time, I went and thanked the bands and talked to them a bit about their show (making sure they weren’t in conversation or too busy). It turns out Look Vibrant was thrown into an Ottawa show and they didn’t really realize it, but went with it anyway and drove back to Montreal for a show the very next day.
Pressed is an intimate venue where you can go up to people, start a conversation, and just simply connect with the bands, which is exactly what I did. Some engaged in conversation, others exchanged information and it was left at that but overall, everyone was incredibly friendly and pleased to have a conversation with you.
I strongly suggest you keep a lookout for these bands if you want your mind blown, your creativity to flow, and to hear a strange and artistic take on your favourite genres. Your experience will be a pleasant one, you can hold me to that, and if for some reason you don’t find yourself tapping your foot to at least one of the songs, a least you got out of your stuffy home.
House of TARG is one of those unique places that makes you feel at home when you walk down the dingy basement stairs. The room was probably about a billion times hotter than it should be and only got worse through the night. That being said, it didn’t discourage people from having a party.
“How does one make a punk show out to be a party?” one asks. Well, the answer to that is simple, booze, good tunes, and lively bands that either know what they’re doing or have no idea what they’re doing but do it well. That’s exactly what went down on the 7th April, and of course, continued until the early morning of the 8th.
When my best friend and I walked in, we were greeted by Matias who then introduced us to a long-term Showbox writer, Eric. He also introduced us to Eric’s girlfriend, and both were exceptionally kind to the two of us. After some conversation, we headed to find a table and patiently await the show to start.
Robots! Everywhere! was the first to perform and he put on an acoustic set which reminded me very much of a band by the name of AJJ. He sang about sports, going to the park with his daughter, and terrible dates. Phil does not take himself very seriously, which is something that you don’t see very often in the music scene, and much less in a punk music scene. He embraces forgetting the words to a song with no shame and jokes around with the crowd, even looking at a notebook he placed on the floor to remind himself of what songs to perform. Through the night, with friends there to support him, a smile did not leave his face. He even performed a song that he doesn’t perform live and he let us in on a little secret; it’s because his girlfriend is typically at shows and well, the song is called “Call Me Some, If You Are Looking for a Time”. The song consists of the lyrics “If you are ever bored and you want to get married… call me.” And yet he is not. He brought forth an energetic show, one that would remind you of summer camp where you’d gather around the fire and sing together, just way better and with a little more yelling. Seeing Phil live is well worth your money if you don’t take yourself too seriously, or even if you do, you can’t help finding his music infectious.
I wish I had the time to talk to Phil after his set, however, Telecomo took the stage immediately after and who was I to complain? Telecomo brought a more serious vibe to the bar, opening with brand songs that I couldn’t find anywhere on the internet yet. They completely shifted the mood. Not only did they make it feel like they belonged playing in bars due to their sound, but they made you feel like you were in your friend’s garage, watching their band go at it with heart. I found every song infectious and the composition was incredibly well done. I have also never in my life seen a bassist move around as much as Gary did. His basslines shook the floor with its power. I have always deeply admired strong basslines, and Gary’s blew me away. It’s something that really added to the songs and the experience.
The third last song Telecomo played was “I Met You.” It reminds me so much of a song from my childhood and yet I can’t for the life of me figure out which one. This is probably one of the reasons that I have a strong love for that song. They played their last two songs, “For Sale” and “Lipstick” then began to pack up after their very heartfelt thank you. Their drummer and friend, Pat Johnson, was revealed to be working double time because he was also the drumming for Steve Adamyk Band that night. He seemed very modest and began to shake his head when a round of applause was asked to be given for him.
I managed to talk to Adam and Gary after they performed, who were both incredibly sweet people. They even talked to me about my photography and Gary mentioned how he tried to “muck it up” for me, and hoped I got some good shots. They were very genuine people and even asked for my social media. After that I went to find Phil, which Matias kindly directed me to, and I managed to exchange some info with him. Phil, if you manage to talk to him, is a sweetheart. Not only did he make sure everything was alright, but he kept checking in with my best friend to see if she was enjoying the show and if she was okay. This wasn’t something we asked for, but it was certainly much appreciated. His friend chimed in and even told us that we had very nice smiles and that although we occupied the table that he had been eyeing all night, he couldn’t be mad at us for it.
Telecomo will be releasing their debut LP For Sale in June, it is a must-have and will be available on vinyl as well.
As things began to settle down, Steve Adamyk Band began to set up. I was pretty excited to hear them live for the second time because their recorded stuff doesn’t do this band justice. When do CD’s, LP’s, or cassette tapes ever do a band justice though? They opened with “Through My Fingers” and really threw themselves into the music. Pat was going at the drums with every ounce of energy that he had within him. Later that night I learned that he had broken something close to sixteen drumsticks, and two kick pedals because that’s how rock and roll works. I even managed to snag a photo where his drumstick is breaking. Their sound is pop punk with a dash of fuzz added to it. Their energy got people on their feet and dancing, and got me bobbing my head to the fast pace of their songs. Unfortunately, on this night they were a trio as opposed to their usual foursome but their delivery was still spot-on despite this fact. They talked to the crowd and all in all were incredibly friendly people. If you want to listen to a song of theirs that will for sure get you on your feet I highly recommend “False Teeth.” It’s a little gloomy sounding at first, but it picks up fast and gets you moving with a strong baseline that draws the song together.
Talking to Steve was a pleasure. Not only was he thankful for the photos I was taking, he spoke to me about how he loves talking to people who were born and raised in Ottawa and even talked some about how Ottawa is a home to many bands they’re friends with, officially and unofficially. We spoke briefly, but in that time we spoke of the local music scene. These guys have a passion for music that’s so clearly written on their faces, in performance, and in conversation. After thanking Steve for the time he gave me, I headed over to Matias as I got very excited about a photo of Steve Adamyk Band that I took. It is by far my favourite photograph of the night and I knew I could not wait to send him the photo. I needed to show him there and then.
There was a wait period between Steve Adamyk and B.A. Johnston. The whole vibe suddenly shifted, whether it was because it was the opening act or because a significant amount of people immediately flooded towards the front, I don’t know. All I really knew about B.A. was that he makes a joke out of everything and anything, and that in his shows he includes a performance art component to it which most people don’t actually consider an art. Watching this man perform was incredibly absurd. Not that it was bad by any means, it was just incredibly strange. I’d never seen anything like it in my life. Not only did he wear three sweatshirts, but at the very beginning of the show, he ripped a pair of Velcro pants off. His humour consisted of not understanding how an iPhone 5c (his Walkman) worked, and writing songs with very oddly specific names. He had even written a song about GST cheques. Besides that, his humour gave off the vibe of Hamilton, Ontario (so he claims), which is where he’s from. He went around the crowd belting out lyrics in his hoarse voice and crushing beer cans on his head whenever he was handed one.
His sound can only be described as something you’d hear from video games from the 80’s, with a mix of pre-programmed beats, synthesizer, and a few acoustic songs. His guitar is a clear indication of the type of act he puts on. A modge-podge of various bits and pieces stuck on, and stickers littering the old thing. There were even carvings in the face of his guitar, and even a metal pick guard somehow stuck on to it. If you paid close enough attention, you could see his feet floating above the ground from time to time as he played. He later claimed to be “a forty five year old man whose only pleasure is forcing people to drink Sourpuss”.
His act went on well past 1 a.m. and although I didn’t stay for the last few songs, I guarantee that there was a lot more drinking, dancing, and singing going on as the show came to an end. I got a cab home and Matias made sure my friend and I stayed safe, walking out in front of TARG with us.
The night was overall filled with great people, fantastic music, and most of the vibes were incredibly positive. Everyone was incredibly friendly and grateful, no matter how drunk or tipsy they were. The live music allowed the room to surge with energy, and as soon as the bands played everyone crowded around TARG’s stage.
If you’re looking for lazy punk, garage punk, punk with some fuzz to it, or folk punk with a side of comedy, this was the lineup for you. And if you want and incredibly wild night with no regrets (except for that headache you’ll be sporting), come on down to see these incredibly talented artists next time they play.
Standing in the Westin picking up Juno Awards media passes, my phone buzzed. A screenshot from a friend of a tweet saying there was a pop-up Arkells show at a *secret* location, hosted by CBCq and Tom Power. What the hell is that, you ask? Pop-up show? Secret location? Challenge accepted. So, The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq began.
As we left the hotel we made a plan. It was 1:30pm, the show was at 4pm. Start the clock.
1:32PM – We narrowed down possible venues for such an event in Ottawa. The tweet said that the first 50 people who emailed CBCq would get access to the show. We knew it would be small.
1:37PM – We hauled ass to the car, snow flying down everywhere, and decided first stop would be at the source. Off to CBC we went. Once we parked and found our way around the the entrance that actually let us in (harder than you’d think, there’s like five doors to that place). The security guards were quick to stop us, we showed them the tweet and I’m pretty sure they thought we were off our rockers. Thankfully, one gentleman didn’t think we were completely loony and offered to help us out by introducing us to the CBC host he was waiting to meet. Amazingly enough, the host he was waiting for also happened to be the moderator from the morning’s panel discussion on Ottawa As A Music City. Though he also had no idea what we were talking about he was nice enough to wish us luck as we left on The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq
2:05PM – Next we tried to think logically. CBCq hosted an event at the Bronson Centre the day before. Perhaps they were holding all their gear there for the broadcast. So once again, off we went. We got inside only to have the person behind the desk look at us like we have eight heads. This was becoming a theme. We thought this was a logical choice, but failed to consider the size of the Bronson Centre, and how it could fit many more than 50 people.
2:30PM – Though we didn’t admit defeat, we decided that CBC probably knew a thing or two about keeping secrets. We carried on with our day.
3PM – Out for lunch where I ended up with a full pint of beer in my lap and ate perogies that would later nearly kill me (that’s a story for another time).
3:45PM – *Phone buzz.* What’s the line up outside LIVE on Elgin? We once again hauled ass to the car.
4:05PM – Late for the 4PM start time, we parked, j-walked and carefully knocked on the door of the venue. Security opens the door and quickly starts questioning. We got a quick no, and a door close.
4:07PM – Some parts of this story need to remain a mystery, right?
4:10PM – WE GOT IN! The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq was a success!!! We quickly stripped off coats, rigged up cameras with lens, and flew like the wind towards the stage. Arkells were going full tilt, we started shooting. Max flew everywhere through the crowd. He was dancing, throwing his mic stand around, finally just took the glasses straight off my face. Insanity. Private School, Drakes Dad, Happy Birthday, Jackson Five.
4:50PM – Post show CBC Host Tom Power striked up a conversation with us. We hesitantly told him details of The Great Hunt for The Arkells Pop-Up Secret Show hosted by CBCq, unsure of the response we would receive. He got a laugh, seemed impressed, all was fine, the end.
4:55PM– Still losing our shit, we went on with our day. The rest of The Juno Awards awaited us, little did we know there was much more in store for the weekend. Check out the full photo gallery for more of what I got up to throughout Juno Weekend.
Join us next time as I tell the story about how I puke outside Petrocan before meeting another CBC radio host.