I called Julie Tuesday evening around 7:00 PM, Ottawa time. She had just gotten home from a busy day and has another one tomorrow. She has a 6:00 AM shift at the pool where she works as a lifeguard before an evening photo shoot and a plane to Ontario to catch the following morning. She’s yet to pack. We talked for almost an hour straight.
One would think waking up at 4:45 AM would be a loathsome task for a life-long touring musician, but Julie Doiron finds comfort in her routine. Not to mention the steady pay cheque that finds its way into her bank account every two weeks—a first in her adult life. Swimming, on the other hand, has been a constant since childhood, and it’s particularly important to her now.
“I need to keep my body strong in order to feel good, psychologically,” she explains, elaborating on how her schedule also includes teaching a weekly yoga class. When conversation turns to the four show tour she has booked this weekend, she laughs and likens it to a vacation in comparison to her current schedule and the intensity of the touring she did this summer.
Starting Thursday, September 13th in Toronto at the Garrison, Julie reunites with The Wooden Stars for three shows, the second of which will be here in Ottawa Friday night at St. Alban’s. The third on Saturday in Picton for Sandbanks Music Festival along with co-headliners Wintersleep. She will be playing an additional show in Montreal on Sunday at Quai des Brumes, before it’s back home to Sackville, NB for Monday.
“We tend to get together every two years, now” she says of the Wooden Stars reunion, referencing the string of dates they performed together in 2014 after a twelve year hiatus, and another slew of performances in 2016. She goes on to explain that they initially arranged these 2018 shows after accepting the Sandbanks Music Festival appearance and decided to add a few more dates. This series of shows has a greater significance than previous—it marks the last time they will be playing their former album in its entirety, because hal-eh-lou-yer, we’re getting another Julie Doiron and the Wooden Stars album.
The Wooden Stars began backing Julie on tour starting in 1997 for her Loneliest in the Morning release. Their jazz-inflected musicality fit in well with her sparse, achey song-writing, and in 1999 they released Julie Doiron and the Wooden Stars. It won a Juno the following year for best Alternative Album and saw re-release in 2013.
While the songwriting efforts on that album were Julie’s alone, she believes the writing process will be more collaborative this time around. Co-writing is something not entirely unfamiliar to Julie, who cut her teeth in collaborative writing with the 2017 release of Julie & the Wrong Guys on Dine Alone Records.
“I was really blocked before that album” she says, explaining that between 2012 and the fall of 2017, she’d only written two songs independently—both of which were written on the way to the session where they’d be recorded. She credits her Wrong Guys collaboration in teaching her ‘to let go and not be in charge”.
Moving forward with new music, she talks of being a lot less preoccupied with the expectations of “making it,” writing a hit, or charting.
“It’s liberating, to no longer be burdened with those expectations.” In their absence, she can create the music she wants to create. This she credits to her age and experience—she is a 46 year old mother of three with 28 years in the music industry.
I ask her how her relationship with her songs has aged, curious how she feels having to revisit songs from her Broken Girl days, songs that as a listener are still so visceral and raw. “I haven’t forgotten what those feelings are like.” She pauses. “But I have changed a lot, and in a way I am grateful to be able to revisit those feelings from this distance.”
The Showbox Concert Series featuring Julie Doiron & The Wooden Stars and Gianna Lauren happens Friday, September 14 at St. Alban’s Church (454 King Edward Ave.), starting at 7:30 pm. More information can be found on the Facebook event. Advanced tickets are $10 and can be purchased online here, or $12 at the door.
Last week, the Sam Roberts Band returned to the capital and played a big set at an outdoor stage on the Algonquin College campus. The Canadian rock icons were joined by up-and-comers Birds of Bellwoods, from Toronto, and The Riot Police, from here in Ottawa.
Our photographer Aidan Thatcher was on-site to catch some great shots from the night. Have a look at the gallery below.
The House of Targ stage was rocked by three great local bands last week. Headlining the night was Ornaments, an Ottawa three-piece who hadn’t graced a stage in a while so it was very nice to see them playing live again. Saint Clare did what they always do and played their most excellent brass-driven rock that makes you want to dance and sing. Opening the night was the up and coming band Lost Acres who released a solid EP in December last year.
Check out the pictures below by our photographer Aidan Thatcher and keep your eye out for the next time these bands play live.
What’s the best way to cure the Monday blues… well a rock show of course. Black Pistol Fireand Thunderpussy took over the Algonquin Commons Theatre a few weeks back with enough guitar and drums to shake the depths of Nepean to its core.
Touting their debut self-titled album, Thunderpussy—an all-female rock band from Seattle—started the night off with a sound that instantly demanded the crowd’s attention. Frontwoman Molly Sides, with her dynamic voice, belted out songs exuding power and pure rock n’ roll. All the while, she commanded the stage with moves that kept the audience glued to her every step, kick, and head bang. Lead guitarist, Whitney Petty, hit the stage decked out in metallic clothing, and played riff after riff, complemented perfectly by Leah Julius on bass, who took her place on the other side of the stage. The drums were no different. Ruby Dunphy, punished her drum kit, and kept the ground shaking as the rock quartet showed that their presence in Ottawa would not soon be forgotten. All in all, Thunderpussy slayed their set and had everyone in the crowd amped up and dreaming of hitting their level of rad.
Shortly after 9pm, Black Pistol Fire took the stage to an audience that was full of anticipation. The Canadian duo, originating from Toronto, are known for their unbelievable high-powered live performances. I knew they would be good, but hell, I didn’t know they would be mind-shattering. The pair, Kevin McKeown, guitar and lead vocals, and drummer Eric Owen, played harder, louder, and with more intensity than could ever be imagined from a two-piece rock band, on a Monday night. With influence from bands like the Black Keys and The White Strips, Black Pistol Fire has made their mark on rock n’ roll. Their hit song, Lost Cause, from their 2017 album called Deadbeat Graffiti dominated, having secured the number one spot on Billboard’s Canada Rock National Airplay for several weeks running.
That Monday night McKeown surpassed all the hype that surrounds his stage presence. He tore through guitar solos that had the crowd mesmerized and jumping along with him. His stomps of sheer energy bled off the stage as he climbed over the security gates and joined the crowd, never once missing a chord. Every solo brought more intensity and ignited roaring cheers.
Owens, who of course went shirtless, was no different. He pounded his drum kit and kept us focused on his larger than life beats. Playing off each other’s energy, Owens triumphantly led a full-blown attack throughout every song, leaving no survivors. Owens left it all on the stage and brought moments that will be impossible to forget, such as jamming out with a maraca in one hand, while still pounding his drum kit with the other, hitting every beat with impeccable precision.
Black Pistol Fire struck a perfect balance between blues, soul, and rock n’ roll, with songs like “Speak of the Devil,” that satisfied your craving for their unique sound, while dishing out flawless guitar riffs. Playing “Bully” as their pre-encore set, the duo victoriously tore through guitar solos paired with drum beats that reverberated through your spine. Owens tossed his drum stick to eager fans and exited, with McKeown by his side, only to be summoned back by a chant of “BPF.” As the guys played one last song, I could still feel the blood pulsing through my temples—looking around the room, I knew I wasn’t alone. Dazed and confused, in a moment of haze and amazement, my ears ringing and heart pumping, I could tell the crowd was awestruck. If you appreciate raw unearthed talent paired with an energy that will keep you on the edge, begging for one more song, BPF is the band for you.
On Thursday night, crowds escaped the damp, rainy Ottawa streets and piled into a dimly lit Bronson Centre to witness an evening of ambient, atmospheric music. Headliner Timber Timbre visited Ottawa for the fourth time in 6 years along with support from Ottawa’s own Boyhood Scattered Clouds.
Scattered Clouds took to the stage first, rising out of an ascending red fog. Performing as a 2-piece band with Jamie Kronick on drums and Philippe Charbonneau on guitar, keyboard, and vocals, this band was the most surprising act of the night. In terms of style, Scattered Clouds describe themselves as “dark, experimental, and post apocalyptic.” These characteristics could not be more fitting. Beginning their set with a heavy presence of baritone guitar and an emphasis on drums driving the synths, the band achieved a sound that could easily be equated to a modern day embodiment of a Joy Division b-side album, with an “Ian Curtis- esque” vocal tone. The second half of the set however, transitioned into an emphasis on synth and a precision in instrumentation. Creating an atmospheric 80’s dance vibe, the band achieved a type of lo-kfi sound that left the audience in a state of euphoria. Waking from this set with the harsh Bronson Centre lighting was like waking out of a heavy, romantic dream.
When the lights dimmed again, our good pals Boyhood took to the stage. Clad in flared pants and turtlenecks, Boyhood did not fail to deliver their staple moody, noisy sound. As always Caylie Runciman delivered raw and airy vocals that harmonized beautifully with her band, and provided an emotional and unpolished set completed with songs that morphed and melted into one another. Giving us a taste of what is to be expected from the upcoming album Bad Mantras, which will be the bands first album since 2012, the set featured the bands catchy “Drivin’” and “He Don’t.” Beginning with keyboard, Caylie swapped over to guitar midway through the set where she went to town in an emotional and raw guitar solo. It’s easy to get lost in a Boyhood set, and this was no exception.
Last but not least, Timber Timbre finished the night in almost total darkness, with only subtle lighting sweeping the stage. A glass of liquor sat idled on an amp to the right, Taylor Kirk began playing what seemed like it would be the entirety of his most recent work, Sincerely Future Pollution. However four songs in, the set took a detour towards an intermingling of a huge sample of his work, ranging from his self titled back in 2009 to his most recent. Detouring the set with Hot Dreams, the band’s instrumentation, and deep, sultry vocals, the song was delivered with a raw, sensual and emotional demeanour.
This specific Timber Timbre performance was unlike many others. His previous shows in Ottawa, which included a performance in Ottawa’s first Baptist Church in 2011, a set at Folk Fest in 2012, where he performed alone with a kick drum, and even his set at Jazz Fest in 2015, stuck pretty tightly to the delivery of the songs on the album. However, this set tended to use the style in the albums as backdrops for experimentation and improvisation with melody and pace during the performance, providing unequivocal authenticity. Most notable in this performance was the “Curtains?!” jam session that lengthened the song by about two extra minutes with intense instrumentation. The night ended with a 3-part encore beginning with “Grand Canyon,” that delivered an expressive and theatrical but emotive and raw finale.
This show captured a unique energy that seems to have been strengthened by the uniqueness of all the bands but also the ways in which they played off of one another. They each brought an atmospheric sound and seamless instrumentation, as well as a hard punch in the heartstrings with their raw vocals, lyrical movements, and honest and authentic delivery. The perfect ambiance to fit the creepy environment that is the Bronson Centre on a rainy evening, this show was not one to miss.
Sam Coffey & the Iron Lungs headlined a great show at the Dominion Tavern Wednesday night which featured opening sets by locals Saint Clare and Mushy Gushy.
Sam took to the stage wearing his standard issue jean vest with Sam Coffey & the Iron Lung patch on the back over a a bedazzled jumpsuit, which I later learned was actually part of an Ace Frehley costume. The band is touring celebrating the release of their new self-titled album which they released after signing with Dine Alone Records.
They opened with two tracks off the excellent new record, “Ragnarock” and “Judy.” I love the new stuff, I really do, but was very glad to see they didn’t forget about their first album and the song that made me fall in love with them a few year ago, “Gates of Hell.” The track is a kick-ass rock n’ roll song with a sprinkle of old school, some claps and sing-a-longs, it is the near-perfect song.
Another highlight of their set was their song “Voicemail,” which is about Ottawa’s very own Gary Voicemail aka Ian Manhire of such great bands as The White Wires, The Sedatives, and more. If you have never seen these guys, shame on you. They are a great rock n’ roll band through and through and even better guys.
Same Coffey and the Iron Lungs rocking out at The Dominion Tavern in Ottawa.
Setting the stage and filling the stage was Saint Clare, a 7-piece band from Ottawa. The band has been making waves in Ottawa with their energetic live performance and great releases. They have such a dynamic horn section (sax and trombone) which adds so much to their music, especially on their 2016 single “Cheatin’.” And I don’t know about you guys, but I just love watching a trombone player strum along like a guitar when they aren’t playing.
Taking the importance of the horns even further is their physical arrangement on stage, which had the brass right next to the singer/guitarist, one on each side, putting them at the forefront. I don’t know if I’ve ever seen that anywhere else. The band as a whole is great and I love what they are doing, but I must say the brass really makes them stand out in the crowded rock n’ roll world. There were definitely some new songs during their set so hopefully we will get something new soon to sink our ears into.
Saint Clare bringing the brass and the fuzz at The Dominion Tavern in Ottawa.
Opening the night was Mushy Gushy, a four-piece butt-rock band who are also from Ottawa. I’ll never truly know what butt rock is but Mushy Gushy make you want to bob and dance on every track. I mean this as a compliment—they were the perfect opening band and got the energy pumping. They did not waste any time playing three songs straight without breaks to get everyone in the zone. They then took a very quick break to say who they were and plug their new tape called More Butter and then quickly got back to business playing the wicked track “Trap” off of said tape. Not a lot of talk and a lot of good rock is key when opening a show. Also it is hard to go wrong with songs named “Fucking Awesome” and “Bodybreak.” Eat your heart out Joanne McLeod and Hal Johnson.
Mushy Gushy kicking things off at The Dominion Tavern in Ottawa.
Arriving to line-ups that wrapped around the hallways outside of the Algonquin Commons Theatre was a sure sign that it was going to be a Friday fans would remember. The lobby was buzzing with the VIP ONE OK ROCK fans who had just had a meet and greet with the band, and the crowd ran through open doors to get the best standing room spots. The first band up was New Jersey-based band Palisades who brought high energy to keep the already buzzing crowd in high anticipation. Set It Off was the second band, showing the crowd exactly how they got their name through jumps and crowd interaction. They held their intensity throughout, continuing the build up for the eagerly awaited headliners.
When ONE OK ROCK hit the stage the energy peaked as the crowds sang along to their catchy songs. In Japan, these guys sell out massive venues, and their music videos get tens of millions of views on YouTube. The fervour of the crowd was met with passionate stage presence, including high jumps and hair flips from the band. Needless to say, they made a lasting impression on everyone in the room.
It’s likely that you may have heard about Bluesfest’s seventh day—it was mired by chaos, violence and overindulgence, around 200 people were seen by paramedics and some sent off to the hospital. While it was mayhem off the stage, on the stage it was bumping with hip-hop acts Migos and Lil Yachty, as well as R&B artist Maurice Moore. Our photographer Els Durnford focused on the music while dodging and sometimes catching concertgoers surfing over the security railing, check out the photos in the gallery below.
The Ottawa Jazz Festival saw its 37th year in downtown Ottawa this June. The festival, which takes place between Confederation Park, City Hall and the National Arts Centre, is committed every year to bringing world-class jazz and jazz-rooted music to the region. This year was no exception. With large-scale acts like Feist and Kenny Rogers headlining, local musician and jazz-lover Garett Bass focused on the lesser-known acts that shocked crowds with their instrumental prowess and heart. Read about his favourite moments below.
Thursday, June 22
Tanika is a soul singer from Toronto that I’ve been hoping to catch live for a while now. I was able to catch her band’s set, the very first of the festival, to a sit-down crowd in the Tartan Homes Stage. Though her and the band could have taken a few more risks or offered a bit more energy, it was enjoyable enough. Amongst a set of originals, they played funky covers of “Boots or Hearts” by the Hip and “Money” by Pink Floyd.
St. Paul & The Broken Bones
Fortunately the main stage had the energy I was looking for, and the rain even held off. For those who didn’t catch them at CityFolk in 2015, St. Paul & The Broken Bones are a new soul band in the style of the late 60s/early 70s era, with a talented and energy-fueled frontman. With a new and very different album behind them, I was interested to see if he could bring the same energy as he did touring his first record.
The first thing that was clear: the band has become more versed in the traditional appeals of soul music showmanship. They went through the classic intro: 1) band comes out hot with an instrumental jam, 2) horns break out into an epic fanfare, 3) introduce the singer with a cheesy radio voice, and 4) have the singer enter in a cape. The cape, of course, is a nod to the greats before him like James Brown and Elvis, but lead singer Paul Janeway’s giant and wrapped cape much more resembled something that a Game of Thrones character might wear.
From the point the cape hit the ground, Janeway was a ball of energy. He danced and belted out the tunes with a great ease, interacted with the band more frequently, and even had a David Byrne-ish moment in which he took one of the large red props from the back of the stage and began to roll around on the floor with it, tearing it apart piece by piece. All in all, it was a great way to start the festival.
Saturday, June 24
Lemon Bucket Orchestra
Saturday was a busy day, and I unfortunately didn’t make it out to see Kenny Rogers. Fortunately, I was able to make it just in time to see the Lemon Bucket Orchestra turn a 200 person crowd into true believers.
If you haven’t seen this klezmer dance party band from Toronto before- you’re missing out. They perform classic songs from the Balkans, Ukraine and Serbia with an intense energy. The show has become seamless as each band member is featured- one minute the bass trombone is soloing at the front, and the next the alto sax player is competing in a sexy dance solo with a belly dancer, and a minute later the crowd is being formed into a giant dance chain and pulled every which way.
My favourite part? For the encore, the band unplugged and literally jumped off the stage one by one, and proceeded to play a New Orleans style brass band cover of “I Like to Move It” in the center of the dance floor, with the lead singer shouting and playing police sirens on a megaphone.
Monday, June 26
When the band first started, I have to admit, it was a bit lackluster. I’ve been a huge fan of Mavis ever since seeing her sing on The Band’s “The Last Waltz,” and I had really been building this show up in my head. When the band simply walked on stage and started up with a tame, light-hearted reggae song, it seemed as though they were just going to play it safe.
But with every song, Mavis slowly offered more of her wisdom and her personality, telling stories of her wild adventures with the Staple Singers and her lifelong career. It was a slow burn in which we were treated to the Staples’ classics “Respect Yourself” and “I’ll Take You There,” her best solo hits, and a series of new songs with really great backstories. Mavis even let the stage for a moment to let her rhythm section treat us to a jam where, in a fun moment, the guitarist played his solo lighter and lighter until the guitar signal was all but gone; and then proceeded to play his unamplified telecaster into the microphone. In all, it was a really special show with a really special woman, and the NAC couldn’t have been a better venue.
To Ray, With Love: Maceo Parker & The Ray Charles Orchestra featuring the Raelettes
This performance was nailed. From the first 10 seconds, it was clear that Maceo was prepared to do a perfect impression of Ray Charles in its fullest- from his distinctive crooning to his style of adlibbing throughout each tune. If you let your guard down for even a second, you sometimes forgot it wasn’t the man himself up there.
If you’re a fan of Ray’s “Modern Sounds in Country & Western” era, this show hit home. From medium-tempo shuffles like Busted, slow crooner classics like How Long Has This Been Going On? and You Don’t Know Me, and finally fast swing like Oh What a Beautiful Morning- the first half of the set got through a surprising amount of material and played it exactly as its meant to be played.
The Ray Charles Orchestra, formed only of individuals who had played with Ray at some point in his career, featured a fantastic array of brass and woodwind, a great piano player who maybe was sometimes a little too tight for a Ray Charles show, and a solid swing rhythm section. Even the conductor was full of energy, waving his hands around wildly infront of the band in ways that a purist might snub as unnecessary. I’m going to personally use the word “endearing;” he was really fun to watch! On top of it all, Maceo picked up his alto for a couple instrumental takes, reminding us why his sax tone and chops are unmatched by most.
About 3/4 of the way through, Maceo introduced The Raelettes, who came out and sang on some classics like Hit the Road Jack and Look What They’ve Done to My Song. They did a great nailing the sound of the classic Raelettes, albeit they were the only part that felt a bit ‘canned.’ All in all, it was a great show and I think they were able to appeal to big fans and general listeners alike.
Robert Glasper Experiment
Following this show was the Robert Glasper Experiment. With their back catalogue often backing various singers and rappers, I was unsure of what to expect.
The set started off with a DJ playing Thundercat’s Them Changes slowly turned into Childish Gambino’s “Redbone,” easing our expectations into the greasy R&B to come. The band took stage with Glasper on multiple keyboards, as well as a singer/saxophonist, bassist, and drummer. The DJ stayed on stage for various sounds and white noise. The singer loved his effects as he started the first tune off with a heavy autotune that worked well with his voice, a sound he would use most of the set. That same first song lasted about 8 minutes, with various members taking solos, and Glasper showcasing his classic Thelonious Monk-esque piano sounds. The second song went into a lighter instrumental that slowly built, with the singer jumping on an effect-dripping saxophone. After that, the band flip-flopped between a vocal tune and an instrumental for the rest of the set. The bassist was in the pocket, the drummer was tight, Glasper’s licks and fills were on point- everything you’d want in a jazz R&B show.
My one complaint would be that they didn’t interact with the audience much at all compared to most of the other acts at Jazz this year, whether through anecdotal stories or vocal singalongs. Otherwise, it was a slick, fun and experimental show!
Friday, June 30
I caught most of Bixiga 70’s set in the Tartan Homes tent. I will admit, they had a tough slot, with the excitement in the air bubbling about the upcoming Charles Bradley performance. But despite all that, this Brazillian powerhouse played as though they were the only band in town. Ottawa loves its afrobeat, and it was great to have a band in town that takes that sound and combines it with a spice of their own. From Willie Colon style brass harmonies to very tight latin rhythms, they made the sounds of Brazil, Puerto Rico and Cuba mesh so well with afrobeat that you’d think the genres had always been played that way together. My highlight was lenthy percussion solo played on the tiny percussion kit to the side, with four band members trading off one another and playing wild counter-rhythms. These guys were a great way to start off the night!
Charles Bradley & His Extraordinaires
Charles Bradley is always a treat to see in Ottawa, but even moreso now that he has a few albums behind him. From the second that the pianist came out and gave his “are you ready?” style speech, it was on. Charles ditched the glitter disco suit from last time and this time came in a red 60s-style button up suit, like something from a Sgt Pepper video. The song arrangements weren’t much different than the record, and there wasn’t a lot of extra frills, but with Charles it doesn’t matter. His sheer passion is addictive for audiences, and every person in the audience was a fan whether they started as one or not. In fact, this was the first time I’ve ever seen large groups summoned from their chairs to dance like crazy at the front of the lawn chair section. Classic songs like “The World (Is Going Up in Flames)” and “Changes” had the entire audience singing arm in arm.
As usual, I was extremely impressed by his Extraordinaires. Like any Daptones band, they were tight and to-the-point and let Charles do his thing. Their catalogue is also a lot more expansive than the last time he was in town- by the time they were at the last song, I was questioning what they possibly had left to encore with, and then he pulled out “Why Is It So Hard?” and took us all to church. What an incredible show by a true performer! With the recent loss of Sharon Jones to cancer, and Charles’ recent announcement that he is also struggling with a cancerous tumour, we can only hope every day that this man overcomes his illness and is able to continue what is obviously as important to him as it is to us. Stay healthy, Charles!
My favourite part about Jacob Collier was the crowd’s reaction to the first tune. I’ve been following this young guy’s (22!) work for a couple years, and was well aware of the talent. Placing him after a giant like Charles Bradley was an extremely wise move by Jazz Fest, as hundreds of music fans poured into the Tartan Homes tent without the slightest clue of what they were about to see.
The stage was littered with instruments: a grand piano, a couple synths, an electric upright bass, a bass guitar, an acoustic guitar, a drum kit and various percussion instruments on a stand. But when only Jacob Collier walked out wearing a wireless microphone, I could see confusion in the eyes of the crowd. Where were the other musicians? Within 4 minutes, Jacob had created a rich and righteous funk tune, running from one instrument to the next while singing in his usual high pitched way. I have to hand it to the people behind the scene, as I don’t think the audience truly respected the prowess in whoever had the task of creating these loops. Jacob would grab a tambourine and shake it wildly at a microphone, only to immediately have that tambourine join the song. Next he would strap on the Fender jazz bass and play a funky rhythm, which would be looped perfectly into the tune by the time he was putting it back on the stand. Once the structure of the song was sound, he would make it to the synth just in time for the hook, using his synthesizer to alter and harmonize his singing line.
The second song- a quiet and very Canadian-style fingerpicking piece (think Don Ross) played on acoustic, which at its peak saw Collier running to the grand piano to continue playing his lush, jazzy arrangement. It was totally different from the first song, and huge indication for how all-over-the-map the entire show would be.
Collier’s excitement to experiment is very obvious as he jumps around the stage, begging the audience to clap a complicated beat, only to jump on the drum kit and play a competing polyrhythm. Is it a novelty? Well, yes, a bit. After playing with Snarky Puppy in 2016, I’m sure that a jazz icon like Collier could easily find musicians to take the stage with him. But half the fun is seeing him run around the stage, caught in his own web of insanity. His energy left me wanting to listen to and play more jazz immediately, and if that isn’t the best outcome of a jazz performance, then I’m not sure what is.