For the past five years, Arboretum Festival has been a crucial part of Ottawa’s music infrastructure. It’s beginnings as a boutique music festival in the capital followed the spirit of other small-scale indie fests across the country, such as Sappyfest, Hillside Festival, and Camp Wavelength. However, those of us who have had the joy of experiencing or being a part of Arboretum Festival know one thing’s for sure—this is no ordinary music festival. In fact, music is just one component of this celebration of all that is local. Gastronomy. Craft Beer. Fashion. It’s all been represented at Arboretum over the years.
This year will be different, as organizers have opted for a scaled back lineup (less is more), as well as a brand new rural location just outside Ottawa at Rideau Pines Farm on August 18th & 19th.
Showbox is once again honoured to be partnering up with Arboretum Festival to co-present the emerging artist stage this year, fondly dubbed the “Bang Bang Barn.” Emerging local music is sort of our jam… okay, it’s what we live and die for. Joining us as co-presenter of this stage is NAC Presents, an organization that supports music locally and all across Canada year after year. We couldn’t be more excited about the lineup, which includes some faces that are new and some we’ve seen before. But each one was hang-picked for their outstanding songwriting and performance capabilities, and what better place to see a great show than in a barn under the stars?
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.
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.
It is that beautiful time a year again where Lebreton Flats transforms into one of the worlds biggest music festivals. Yes, Ottawa Bluesfest is back and ready to rock the capital from July 6th to 16th.
With so many days of music and so many bands, we wanted to highlight some of our must-watch acts. We decided this time around to focus on some of the traveling acts that have us excited. We may not be highlighting them this time around, but we don’t want to mention that there are a lot of amazing local bands gracing the stage almost every day (we’ve included some local mentions at the bottom of this article). Don’t skip the openers as they could very well be the next act to explode out of the city. See the full schedule here.
Top Picks for Bluesfest 2017
Death From Above
Thu, July 6, 9:30 PM – 10:45 PM – Black Sheep Stage
Death From Above have dropped the “1979” suffix and will make their return to the Bluesfest stage this year after having to drop out in 2016. The duo brings a rush of bass, drums and piano that some times makes you want to mosh and other times makes you want to slow dance. They surprisingly dropped a couple of new singles this year so this set may also be a chance to hear some new music they are trying out. Check out their new track “Freeze Me” below.
If Death From Above isn’t really your thing, Pokey Lafarge will hit the stage at the same time and brings a more country-blues musical styling rooted in American folk music. Lafarge who has been releasing music since 2006 got his big break in 2012 when Jack White invited him to sing on the song “I Guess I Should Go to Sleep” from his critically acclaimed album Blunderbuss. Lafarge is a songwriter through and through and beautiful crafts lyrical content to be deep and catchy all at once. His is also quite the entertainer so you are surely in for a treat between songs as well.
Sat, July 8, 7:30 PM – 8:30 PM – Bluesville Stage
If you are one of those rare (yet awesome) people who actually go to Bluesfest for the blues, you can do much worse than to go catch a set by the big man of blues Sugaray Rayford. Rayford is surrounded by world-class musicians who will take you on a ride well before he even has a chance to sing. But once he sings, oh boy, are you in for a time. You can feel the pain from his past spent in Texas in his powerful soulful which bellows out of his 6’5” frame. I have never seen him live, but I am told he moves with the grace of a much smaller man. Go see him live to have all three senses tickled, hear his songs, feel his voice and watch him dance.
Tue, July 11, 8:00 PM – 9:15 PM – Claridge Homes Stage
With all their success over the last couple of years, July Talk have been called up to the big leagues finally making the move from one of the side stages to one of the main stages. The bands music is great, don’t get me wrong. But a July Talk show is about much much more than their catchy lyrics and smooth musicians, it is about the chemistry between the singers. Watching singer and guitarist Peter Dreimanis and singer Leah Fay interact on stage is a show in itself. Fay’s energy is electric as she dances around the stage, gets in Dreimanis’ face and usually drags him around the stage by his tie. Dreimanis sings with a voice that will remind people of Tom Waits and does his very best not to miss a beat when Fay comes around. Last time they played Bluesfest, our buddy was crowd surfed on stage and Fay took his hat and had him take his shirt off and even gave him a little bit of mic time before pouring water all over him in front of thousands of people. Thanks for the memory, Nick!
Do you love singing? Do you love karaoke but are a little too shy to get in front of a crowd? Do you love big sing-a-longs? Well, if you answered yes to one or all three of these you will love a Choir! Choir! Choir! set. Nobu Adliman and Daveed Goldman, the founders of Choir! Choir! Choir!, take a very non-traditional approach to forming a choir…they simply make the audience the choir. Coming off playing Parliament Hill on Canada Day, they play popular songs and old-time classics and will teach you the words and your part to make it a fun and interactive experience.
Wed, July 12, 7:55 PM – 9:10 PM – Claridge Homes Stage
After singing for a bit with Choir! Choir! Choir! go check out the multi-Grammy winning band The Shins as they hit the main stage. The band has been wowing audiences and indie rock fans worldwide for over 20 years now. The band will take you on an emotional roller coaster with their beautiful music and vocalist James Mercer will impress with his range. This show will bring many of us back to high-school or early university days sitting in our rooms with our headphones on taking it all in.
Wed, July 12, 9:10 PM – 11:00 PM – City Stage
Yes another act on Wednesday July 12th…what can we say? It’s a stacked bill that day. LCD Soundsystem are celebrating 15 years since forming in 2002, and front man James Murphy is sure to wow and entertain. Having seen them headline at Way Home music festival last year—let me tell you that this is the must-see can’t-miss act this year. Bring your dancing shoes and get ready to shake your groove thing when LCD hits the stage. Their music blend of electronic and dance with rock is sure to bring the most lawn-chair of fans to their feet. It’s a great way to cap off a night and help soften the blow of partying on a Wednesday night.
Anderson .Paak & The Free Nationals
Fri, July 14, 8:30 PM – 9:30 PM – Claridge Homes Stage
Anderson .Pakk is a songwriter, rapper, virtuoso drummer and producer who has been making beats since his early teens. Rolling Stone Magazine has called him “one of the most amazing vocalists in R&B today” and he has drawn praise from Dr. Dre, Talib Kweli, The Game and many more. And for those who don’t get into rap for the “lack of instruments and musicians,” .Paak’s live performances feature a full band who can really play and sometimes he even jumps behind the drums and show off his skills. So go get down, funky and rock out with Anderson .Paak & The Free Nationals and get a taste of one of the biggest rising stars in hip-hop today.
Fri, July 14, 9:30 PM – 10:45 PM – City Stage
Yes, the same Live that dominated the charts with songs like “Dolphin’s Cry,” “I Alone” and “Lightning Crashes” has reunited for a world tour and are stopping by Ottawa. The band released their first album Metal Jewelry 25 years ago, so what better time to help us all reminisce. Ed Kowalczyk (vocals, guitar) has always been quite the entertainer and someone who leaves it all on the stage, even with some time away, I can’t imagine this performance will be any difference. This show is a can’t miss for all those fans of the golden days of the 90s when alternative rock was king.
Busty and The Bass
Sat, July 15, 8:00 PM – 9:00 PM – Black Sheep Stage
Busty and the Bass are a nine-piece band with jazz roots and soul topped off with an MC adding that hip-hop flare. They feature a super talented brass section that will really get you moving on a Saturday night. This is one of the most out of the box bands that will grace the festival stage this year.
Telecomo – Thu, July 6, 8:00 PM – 9:00 PM – Black Sheep Stage
Eddie Quotez – Fri, July 7, 6:30 PM – 7:30 PM – Black Sheep Stage
ERU ERA – Fri, July 7, 7:30 PM – 8:30 PM – Barney Danson Theatr
Sparklesaurus – Sun, July 9, 3:00 PM – 4:00 PM – City Stage
If you’re a fan of Canadian music and follow CBC, you’ve probably heard of the CBC Searchlight contest. It’s a competition that attracts thousands of submissions from musicians across the country, and the search for the nation’s most talented undiscovered performers occurs over the course of several months. In its fifth year, CBC has partnered up with Canada Scene and the Banff Centre for Arts and Creativity in the annual competition.
The contest has wrapped up with Vancouver’s The Long War being crowned winners (and, coincidentally, also have an Ottawa connection). The west coast folk rockers took the prize with their song “Breathe In Breathe Out,” beating out singer-songwriter Jaryd Stanley, as well as Saskatchewan trio The Wolfe and hip hop/R&B phenom WILL, who moved to Canada from Trinidad and Tobago at the age of five.
The Long War are set to play their biggest stage yet, Ottawa’s newly-renovated National Arts Centre on July 2nd. The night will be hosted by Canadian songwriting staple Royal Wood, who worked with them during their residency at The Banff Centre, and will also feature exhilarating performances by the runners up.
I spoke with The Long War’s singer Jarrett Lee about the CBC Searchlight competition, and the road ahead. Read the interview and watch their performance of “Breathe In Breathe Out” below.
The CBC Searchlight Live! event will be held on Sunday, July 2nd at the National Arts Centre’s beautiful Babs Asper Theatre at 7 pm. Find ticket information and purchase links here.
Interview with The Long War’s Jarrett Lee
Now that the CBC Searchlight competition is over, what was your biggest takeaway from the contest? Did you learn anything from the process as a whole?
Our biggest takeaway is something that we continue to remind ourselves everyday and that is Searchlight is an opportunity. We need to work hard and take full advantage of that. There’s a lot to learn in the music industry and we need to embrace those learning experiences while continuing to grow musically as a band. We’re so excited for what’s to come, and so grateful CBC and Searchlight has helped put us in this position.
What does it mean to you to come play in Ottawa at the National Arts Centre for Canada’s 150th?
Ottawa is a special place, it’s like a home to me. The first stage I ever performed on was in Ottawa. I met my bandmate Chad in Ottawa when he was cutting his teeth in the music scene before moving to Vancouver. The NAC is an incredible venue, I saw one of my favourite bands Wilco play there. And to be playing a venue so renowned on Canada Day 150 alongside Royal Wood to my family and friends is truly surreal. It’s an important chapter in this journey and we’re so thrilled to be a part of the celebration.
Winning the competition is a huge feat, with so many other acts that entered from the start. Did you get a chance to listen and become a fan of any other artists? If so, whom?
There were a lot of talented artists in Searchlight, I’m a fan of Will, Jaryd Stanley and The Wolfe all of whom will be hitting the NAC stage July 2nd. They were our Searchlight finalist peers and we spent some serious time together going through the process. That experience was a special one that we all shared connecting us in a way. They’re also really great songwriters and awesome people worth checking out.
What was it like playing “Performance in the Park” in from of a sold out crowd in Banff?
It was like nothing I’d ever experienced! There were two thousand plus in the crowd, the weather was cold and wet but people came out and were so interested in sharing in the experience of live music and so engaged in the performance. We have a song called “Lake Louise” and everyone sang along. Magical things happen in Banff.
How much longer will it be until the Vancouver Canucks win the Stanley Cup?
Great question! Patience is a skill, not a virtue. We’ve got a hard core Montreal fan in this band who I’m sure would love to answer this if he could. Missed opportunity, sorry Chad!
Moving forward, what does the future hold in store for the band? Do you feel like there’s a lot of music in you to give?
We’re releasing an album called “Landscapes” in January that we recorded at Metalworks Studios in Mississauga with Producer Kevin Dietz. We couldn’t be more excited about it. We’re always writing and already have lots of material we can’t wait to play. There’s plenty of music flowing through us, we’ve already planned our follow up album!
The twelfth edition of Montebello Rockfest had everything you’d expect—long lines to get in, circle pits, sunburns, and a lot of really loud music. Even more, the weather played games with attendees throughout. They were pelted with rain bullets, and also roasted by sweltering heat like one giant sweaty cookout. But the main attraction of the festival—the music, of course—was nothing short of spectacular. The lineup was all killer and no filler, delivering incredible, ear-busting performances from the likes of Alexisonfire, Wu-Tang Clan, Rammstein, Queens of the Stone Age, and induced some serious nostalgia trips with legends such as Iggy Pop, The Specials, and Bad Religion.
We had our Showbox delegation endure the blood, sweat, and tears (of joy) involved with attending Rockfest, and our photographers Els Durnford and Landon Entwistle went all-out, have a look at their shots below.
This past weekend Rockfest in Montebello, QC, turned 12 years old and I was there to take it all in.
After three hours of sitting in the car the car slowly making our way through small neighbouring villages and ultimately right down Main St. in Montebello Thursday night, we set up our tent just as the torrential downpour began. This being my second Rockfest, we knew to expect the crazy long delays getting in, but let me tell you—knowing it would happen only barely makes it better.
Once we were all set up, everything was on the up and up from there. The festival was an absolute blast other than the crapshoot to get in and the poor sound during Meshuggah. I’m not sure why it only affected them, it was a shame given the highly technical nature of their music and this being their 30th anniversary as a band.
Below are my highlights from two days of rock, metal, punk, beer, mud, sun and hundreds of thousands of people.
10 Highlights of Rockfest 2017
Random cheer “waves” in the camping area.
Anyone who has ever camped at a big music festival like this knows exactly what I’m talking about. For everyone else, it is the phenomenon where one person or a small group of people yell out a random sound or the name of the festival and other pockets of people join in as it moves across the campgrounds just like a wave at a sporting event.
Fanny pack fashion.
They are back, they are useful, they are better for your posture and tan lines than a purse and people have gotten very creative with them. I saw some of all sizes, multiple zippers or simple, gold, silver—heck, there was one even shaped like a pineapple. I don’t know what drove people to bring them back, but I am all for them.
I’m a sucker for a good cover, always have been. But I love them even more when they are done live, and then that is all amplified when done on the big stage of a major festival like Rockfest. Some covers can be the entire song like Pennywise doing Minor Threat or Goldfinger with their cover of Nena’s “99 Red Balloons.” Other times it can be a perfectly placed snippet of a classic during their own song like Wu Tang Clan throwing in some lines from “Come Together” by The Beatles, The Specials with “We are family,” or Josh Homme of Queens of the Stone Age throwing in a little Amy Winehouse “Rehab” during a song. These are not only great tributes, but also a lot of fun for the audience.
Hatred for Donald Trump.
The hatred for the current President of the United States was a constant theme over the two days. I first really noticed it when Pennywise mentioned it and then played their politically charge track “My Country.” But they were certainly not alone, Goldfinger started a fuck Donald Trump chant during their set, and Bad Religion’s “New Dark Ages” has never been more relevant… well, since President Bush at least. The Special dedicated their song “Message to Rudy,” (which most probably don’t associate with politics but it is a very political track) to Trump and complimented Prime Minister Trudeau. Other bands like Anti Flag, Dreadnaughts, Face to Face, and Down by Law also had their piece to say.
Less Than Jake.
One of the challenges of these festivals, is with five stages rolling, you sometimes have tough choices to make, but also some bands that usually play hour long sets get cut to 30 minutes. This is what happened to my beloved Less Than Jake, a ska band I have been into since grade school. They made the absolute most of their shortened time and it felt like they crafted a set list just for me, hitting on most of my favourites including “All My Best Friends are Metalheads,” “The Science of Selling Yourself Short,” “Johnny Quest (Thinks We’re Sellouts)” and more I most likely forgot to write down while I danced up a storm. They capped off their set inviting the brass section from The Real Big Fish on stage to join them. This was one of many skank-tastic moments of the festival with great ska.
Yeah we all know “Du Hast” the German industrial metal band’s big hit that brought them fame in North America, but this band has been wowing fans since their inception in Berlin since 1994. The music is good, actually much better than I expected given I don’t really listen to them and don’t speak German, but the show is what truly blows you away. There are fireworks and pyrotechnics throughout the entire thing. I read somewhere that their tour features more than 20 trucks just to pull off this spectacle. And I mean when you see a guitarist wearing what looks like a WWII gas mask that shoots 10-foot flames from the mouth area, you start to understand. It was almost more like going to see a foreign musical horror film than a live show, and I mean that as a compliment. Fireworks, flame throwers, fire-shooting masks, fire from the stage, crazy light show, explosions, elaborate costumes and devilishly good metal, Rammstein showed us why they are one of a kind. I wonder how many people had nightmares while camping that night.
(please note this is not our video, but we felt it was important to share the spectacle with everyone)
The Specials are one of the innovators of the English 2-Tone and ska movement of the 1970s, forming in 1977. I have loved this band since childhood thanks in part to my parents introducing them and ska and reggae to me at a very young age. The problem was, they broke up in the 80s, got back in the 90s, but I didn’t see them until a couple of years ago. Finally seeing The Special at Bluesfest was something else, but it was unfortunately overshadowed by poor sound and the lead-singer getting pissed off and throwing stuff at the soundman and storming off near the end. This time was very different. This time not only was the sound great, the sun shining and the band in a great mood, but I got to share the moment with my little brother. We danced up a storm skanking all over the place with smiles painted from ear to ear. Their set list was great, and as mentioned they dedicated “A Message To You Rudy” to Donald Trump, but also featured favourites like “Monkey Man” and “Too Much Too Young.”
PUP are simply one of Canada’s best bands right now, if not one of North America’s best exports. Their live shows are full of energy from start to finish and this set was no exception. The cloud of dust filled the air at the side stage as the band got started and never really settled, even when the band slowed things down a little. One hilarious thing was that someone brought a long an inflatable poo emoji which could be seen floating around for most of the set. They ripped through tracks off both their album not stopping for long in between songs to ensure no time was wasted. This may have been the first time I see them play where lead singer and guitarist Stefan Babcock didn’t crowd surf, but he did stand on the barrier surrounded by fans… it might have been a festival rule? Just see this band. I have been saying it now for years, stop taking my word and go learn for yourself how awesome PUP are.
Photo by Els Durnford
So I know I keep using the term “one of my favourites,” but hell, the festival did a good job gathering bands I love and Alexisonfire is certainly one of them. I never thought I would see this band again, I was pretty sure they would reunite, but I figured I would always miss out somehow and that I was destined to never see the band again. Why does that matter so much? Well, Alexisonfire completely changed how I perceived music and opened the door to much heavier sounds and styles—they were a gateway band of sorts for me. I’m also a bigger guy but love to dance, so being able to find space a little further back to throw down and not hurt anyone or myself while respecting others’ space was a nice bonus. Seeing them again was very special, and it could be the last time or I could see them five more times, who knows but it was epic.
Photo by Els Durnford
At the Drive-In.
Another one of those bands from my younger years, recently reunited and I went to go see them in Toronto and they were great there. They played Rockfest with that same energy and stage presence. One of the moments that stole the show, beyond their amazing music of course, was when lead singer Cedric Bixler-Zavala went on an anti-Bill Cosby and Hollywood rant. He simply stopped after one song and said “Fuck Bill Cosby. Fuck the Hollywood rape sympathizers. Fuck all of them while you sit around and watch their sitcoms and movies.” It was completely out of the blue, and don’t get me wrong, I 100% agree with him. I was just surprised when most of the hatred had funneled towards Trump over the past days. The set was tight, full of great songs we all wanted to hear, and was a great way to cap off another fun year at Rockfest.
“Where’s the jazz?” I heard someone comment recently about this year’s TD Ottawa Jazz Festival. I guess at first site it seems true—the festival this year boasts some larger scale acts such as Feist and Kenny Rogers who don’t bring jazz imagery to mind.
But look beyond the surface and you will see a festival that, year after year, really entertains the question: “what IS jazz?” And personally, I like the Jazz Fest because they understand me as a fan of jazz in 2017. They understand that my love of Herbie Hancock also makes me love soul music, such as the many times Jazz Fest brought the spectacular Sharon Jones to our city, and even the queen herself, Ms. Aretha Franklin.
They understand that my love of John Coltrane also makes me love funky, beautiful, free jazz music, such as Kamasi Washington’s incredible performance last year (read that story here). They understand that my love for New Orleans style jazz is not limited to the traditionals, but also extends to funky new artists like Trombone Shorty or the Dirty Dozen Brass, both of whom were hosted recently. And best of all, they understand that I love groups like Snarky Puppy who take all of the above and mash it together.
This year is no exception. This is undeniably the most diverse and beautiful lineup of any festival this year. Below I’ve created a list of my top 10 acts for fans of jazz, soul and funky vibes at the ’17 Ottawa Jazz Fest.
Ottawa Jazz Fest takes place at Confederation Park from June 22 to July 2nd, with artists performing on the grounds or at the nearby National Arts Centre. See the full venue and purchase your passes here.
Top 10 picks: Ottawa Jazz Festival
National Arts Centre Theatre
Monday, June 26th at 7:00pm – Tickets here
Fans of classic soul and R&B know Mavis well- her voice that can go from honey-drip to wildfire in one phrase was a major part of The Staples Singers’ success. Chances are you’ve heard Mavis sing even if you’re not sure. Maybe you’ve heard Staples Singers’ classic tunes “I’ll Take You There” or “Respect Yourself” play on the jukebox somewhere. Or maybe you’ve heard her incredible vocals in The Band’s final performance of the classic “The Weight” shown in their Last Waltz documentary. Since her equally talented sister passed in 2013, which closed any potential for future Staples Singers performances, Mavis has seemed to come onto the scene even stronger as a solo artist. Her humble acoustic performances with Jeff Tweedy of Wilco took the internet by storm a few years ago, and the recent release of her 2016 album “Livin’ on a Highnote” has been well received by soul fans everywhere. The NAC theatre is a perfect spot for Mavis to take the city by the horns this year–we can’t wait!
CHARLES BRADLEY & HIS EXTRAORDINAIRES
TekSavvy Main Stage
Friday, June 30th at 7:00pm — Tickets here
In 2012, I went to see Daptones Record’s Charles Bradley perform one of his two shows at Bluesfest. I was a big fan of his debut album at the time, and thought I was on the cutting edge… so I arrived 45 minutes early to get a good spot. Unfortunately 45 minutes wasn’t early enough, as hundreds of fans stood around, many holding signs, shouting his name and amping one another up. It was an amazing sight to see so many people I’d never seen excited about soul music. But even as huge fans of the album, I don’t think any of us knew what we were in for. Charles’ energy was incredible, and his humbleness shone as he broke down crying before the encore, hugging fans at the front and exclaiming repeatedly how lucky he was to live his fantasy every night.
Any skeptics who went to that show were surely fans by the end. Unfortunately, last October those same fans, who have since grown with Charles over 2 more albums and a fantastic documentary, were horrified to find out that Charles had to cancel his Bronson Center show due to health issues. With the recent loss of our Sharon Jones, we’re still a bit touchy. For me, finding out that Charles was coming back was not only exciting, but a hopeful indication of good health. Charles–we’re ready if you are!
MACEO PARKER & THE RAY CHARLES ORCHESTRA FEATURING THE RAELETTES
TekSavvy Main Stage
Monday, June 26th at 8:30pm – Tickets here
For fans of funk music, the name “Maceo” is a staple. His work with James Brown and (every branch of) Parliament is considered some of the most important in funk history. He is not only an incredible sax player, but a pioneer of funky rhythms and harmonies that created the framework for all funk to come. However, it seems that he’s coming to Ottawa with a different vibe in mind, with his tribute to Ray Charles. For long term fans of Maceo’s work this may definitely seem like a departure. However, for any fan of Ray Charles and his orchestra-led work like “Modern Sounds in Country & Western,” this sounds like a match made in heaven, especially considering that Maceo has never put out an album without a Ray cover (so the affection is obvious). Truthfully, I have been searching desperately online to find out if his two partners for the show; the Ray Charles Orchestra or The Raelettes, contain any original members, but I guess I will have to go to the show to find out for sure!
ST. PAUL & THE BROKEN BONES
TekSavvy Main Stage
Thursday, June 22nd at 8:30pm – Tickets here
St. Paul & The Broken Bones shocked soul fans across the world a couple years ago when hundreds of videos began to appear on YouTube, showcasing a raw, minimalist, and tough-as-nails approach to soul music by a band that was NOT on the Daptones label. Even more, the lead singer loved to dance. For Ottawa, it was timely, because shortly after the hubbub the band appeared at CityFolk in 2015. For a new band, their performance there blew me away. They recently released a new record called “Sea Of Love” which shows a fuller and more mature sound, but it will be interesting to see if they can deliver it with the same raw intensity we saw before. Looking forward to finding out!
ROBERT GLASPER EXPERIMENT
Tartan Homes Stage
Monday, June 26th – Tickets here
R&B keyboardist Robert Glasper has been slowly gaining steam through the 2000s, even beating the dreaded sophomore slump and signing a deal with Blue Note records. However, it wasn’t until Black Radio volumes 1 and 2 that maybe of us started to take notice. I like to think that this was because he and his band had matured into a slinky, stanky, post-R&B powerhouse, but let’s be honest: the cameos were a huge help! Erykah Badu, Jill Scott, Common, Brandy, Anthony Hamilton, Musiq Soulchild–these were huge namedrops! These albums have definitely put Robert Glasper Experiment on the map, but However, I’m glad that despite Glaspers’ recent successes, Ottawa Jazz Fest are treating us right with a late night performance–always a must for a sweaty dance party.
Tartan Homes Stage
Friday, June 30th at 10:30pm – Tickets here
Jacob Collier is an anomaly. In fact, many of us are constantly trying to determine if he’s human at all. His ability to build entire songs out of funky, thick vocal parts is incredible, all done with a voice that can be as sweet and melodic as Rudolph Wainwright and as low and gritty as Isaac Hayes the next. Next comes his prowess as an instrumental jazz musician- he’s proven himself incredibly skilled at jazz piano, as well as very capable on the bass guitar, drums and assorted percussion. In fact, just last year he released a song with Jazz Fest favourites Snarky Puppy, showcasing that both his talents as a vocal looper and as an expressive piano player translate perfectly in real-time. For fans of weird, wacky, funky and beautiful, Collier is your man this year.
Tartan Homes Stage
Wednesday, June 28th at 10:30pm – Tickets here
True jazz or not, jazz-laced hip-hop is a love of mine, and from what I’ve experienced, a huge love of Ottawa’s. Nomadic Massive have shown their promise as a talented, hard-working group reminiscent of The Roots for years. What’s more to say? The last time they came through town they slammed Ritual (RIP), and it’s great to see them back. For fans of thoughtful and hypnotic hip-hop music with fast raps, organized chaos and funky instrumentals, this is the band to see!
Tartan Homes Stage
Friday, June 30th at 7:30pm – Tickets here
Hailing from São Paulo, Brazil, Bixiga 70 are a ruthless afro-latin powerhouse. With complex rhythms and horn lines that cut like a knife, these guys take instrumental afrobeat to a new pace and energy. For fans of brass dance bands like Hypnotic Jazz Ensemble, afrobeat trads like Fela Kuti, or afrobeat moderneers like Antibalas, these guys cannot be missed! This may be the sweatiest, craziest late night show this year- bring an extra t-shirt and your best dancing shoes.
SHABAKA & THE ANCESTORS
Tartan Homes Stage
Tuesday, June 27th at 10:30pm – Tickets here
Last year spiritual jazz fans rejoiced when Kamasi Washington was able to bring his The Epic through the festival. This year is no different- for fans of pulsing, rhythmic, spiritual jazz- Shabaka & The Ancestors may be your favourite act of the festival even if you’ve never heard of them. Shabaka Hutchings is an incredible saxophone player and arranger, and it’s obvious that he brings all the pioneers into these arrangements, from Coltrane and Miles to Sun Ra and Pharoah Sanders- The Ancestors toy with it all. The great thing about this kind of jazz is that it’s free playing at its finest while being accessible even to the modest jazz listener- a great introduction to soul fans looking to dive further into the jazz canon.
HIROMI DUET: FEATURING EDMAR CASTANEDA
National Art Centre Studio
Tuesday, June 27th at 7pm – Tickets here
This is an interesting one for me, because I’ve sat in awe at online performances by both of these artists over the past few years, but never expected to see them combine forces. Pianist Hiromi Uehara is known for her blazing fast fingers and expressive passages, and has performed in recent years with many greats like Chick Corea, Stanley Clarke and Anthony Jackson. I always appreciate her ability to fuse genres together, and her synth work is definitely intriguing. On the other hand, Edmar Castaneda on the other hand, is an incredible harp player who has been rewriting public perception and understanding of what the harp can achieve. His work is experimental but always pretty. I’m really excited to see what these two will do together, and the NAC seems like a great choice of venue for these two instruments to shine.
THE PEPTIDES – Pop soul with nailed harmonies, political undertones and the most theatrical show in Ottawa Tartan Homes Stage
Tuesday, June 27th at 7:30pm
TROPIKOMBO– The sambafunk band to give “world music” its name back- blistering hornlines and rhythms from dance music around the globe Mercury Lounge
Thursday, June 22nd at 10pm
BANK STREET BONBONS – These guys are everything the “brass band” genre is good at, borrowing spirits from klezmer and latin music but always keeping that N’Orleans bounce Tartan Homes Stage
Friday, June 30th at 1pm
ED LISTER’S PRIME RIB BIG BAND – There’s not enough swing bands in Ottawa, let alone those that play original arrangements and keep the energy up. Check these guys out! Tartan Homes Stage
Sunday, July 2nd at 2pm
ROMMEL RIBIERO – A great player of guitar and cavaquinho, Rommel always delivers the groove with rhythms borrowed from Brazillian and reggae music Tartan Homes Stage
Wednesday, June 28th at 11am
SLACK BRIDGES – Soul music with greasy rhythms and pretty chords. Tartan Homes Stage
Thursday, June 29th at 11am
Garett Bass is an Ottawa musician and showgoer. Not stuck to one genre, he has played and enjoyed soul, jazz, reggae, folk, hip-hop and ska music since moving to Ottawa in 2005.
Tiffanie Tri is almost a typical Ottawa bureaucrat—she studied Political Science at Carleton, lives downtown, and spends her days working 9-5. But on the weekend, she plays keyboard in shows as large as Bluesfest. She’s part of Scary Bear Soundtrack, a local band that’s grown exponentially in recent years. She’s also the Chair of Girls + Rock Ottawa, a non-profit organization that teaches music to self-identifying girls, and now women, in Ottawa.
The organization began in 2007 and introduced its main event, a weekend rock camp, a few years ago. Over three days, girls 13-17 learn a rock instrument of their choice and are grouped into bands. The finale is a showcase of what they have learned in a concert for family and friends. “The transformation by Sunday is amazing,” says Tri.
Since then, the project has expanded to jam sessions, workshops, and starting this month, a rock camp for women. This recent growth included a slight change in the organization’s persona, going from Ottawa Rock Camp for Girls to Girls+ Rock Ottawa. “With all this stuff going on, we didn’t feel like it was representative anymore,” says Tri.
“It’s also to signify and celebrate gender diversity. One of our biggest focuses is a safe space,” she says, explaining that all their programs are welcome to self-identifying girls and non-binary youth.
The organization has also increased their public presence, with organizers appearing at panels, events, and similar programs to promote their work. In the future, Girls+ hopes to partner with more local groups on their growing program. They’re also working on more programming outside of camp, with a goal to teach all areas of music production—a field that’s not always accessible to girls. “We’ve kicked off someone’s interest in music, how do we sustain it?” says Tri. “How do we keep engaging these youth?”
Girls+ does so with inviting programs that teach music in an encouraging way. Like myself, Tri learned classical piano as a child, and wanted a more flexible, accommodating way to learn music. Jam sessions and workshops teach music skills in a way that works with girls’ interests and needs.
The workshops also aim to teach real world skills—applicable lessons that teach youth all sides of music production from concert photography to planning gigs. Together, the projects work to break down barriers that keeps young adults from practicing music—whether it be venues, resources, or an accepting space.
This summer’s Rock Camp for Women+ is a pilot project, expanding on their flagship camp. “The same reason we do it for the girls—women want that safe space and community.” The aim is to teach women+ the rudimentary skills of music, without the intimidating nature of music lessons, which can be especially difficult later in life.
For the future, Girls+ are asking “How can we sustain someone’s music interest and potential career?” New workshops, jam sessions, and special events aim to bring campers back to learn new skills from songwriting to recording to self-promotion. “That whole journey—I’d love to support every step,” says Tri.
The growing organization also hopes to do more panels to discuss issues as women in the music industry. They’ve partnered with local businesses, groups, and artists, and plan to expand further. Throughout, creating a welcoming music scene for girls, women, and non-binary youth remains the organization’s main goal. “Mentorship and representation is a key part,” says Tri. As a woman of Asian heritage, she herself struggled with lack of representation and racial stereotypes in music. “When girls grow up and don’t see themselves in media or on album covers,” they miss out on opportunities to pursue music. Tri says that many girls have come to camp believing they just weren’t supposed to play rock instruments. Once they enter the male-dominated music genre, “they break down those stereotypes and myths without even realizing it, while they’re having fun.”
This year’s rock camp for Girls+ is in November, but the organization already has a number of events planned until then. The Women+ rock camp is this coming weekend, and will signify the start of a new chapter for the program. “I think it’s going to be so much fun,” says Tri. “We have no idea what it’s going to be like.”
All of Girls+ is run by volunteers, so proceeds of the Women+ camp will go towards future programs. “We’re trying to give that opportunity to people of a different age group,” says Tri. “Empower more people, reach more people as well as sustain our work.”
Organizing so much programming, marketing, and partnerships is evidently a lot of work for Tri and the Board of Governors, but it’s worth it. Doing Girls+ has allowed her to explore music and charity work in a new way, and balance her interests with her career and political background. “Knowing all that stuff helps me a better writer for music… that’s how you get a different perspective.”
Tri’s band comments on issues such as race, gender, and ethnicity, and their lyrics have been called controversial because of it. “It’s called political, and characterized as that,” she says. “We’re just writing the same song that everyone else has… it’s real experience. Political, to me, just means they don’t know what else to call it… it’s a synonym for different.”
She credits her open mindedness to her education and work background, saying “I don’t think I’d notice all those things if I didn’t have an understanding.”
Tri continues to make music about real life issues, unapologetically, and hopes to inspire girls and women+ to do the same. Especially in a small local scene, creating a welcoming learning environment for minorities in music is the first step to breaking down larger barriers in the industry. Girls+ programs teach girls, women, and those of non-traditional genders not only how to play music, but why their voices should be heard.
Rock Camp for Women+ runs from June 23-25, and for Girls+ November 3-5. Upcoming events and information can be found on their website here. Volunteers for future programs are always welcome.
Those who have been to shows in Ottawa long enough are probably familiar with the name Hard Science. However, chances are you didn’t know that the name associated was associated with music. Arturo Brisindi, a.k.a. Hard Science is an artist who has become known for his work with modular analog and video synthesizers over the years. His visual creations often take the form of projected video on walls, ceilings, and stages, and create breathtaking visual landscapes for us to bask in. While this is a world that I am admittedly not particularly familiar with, I have seen his work at events and can attest to its ability to transform a room. Those of us who grew up in the 80’s and 90’s probably experience some nostalgia when watching his visualizations – I’m talking Windows ’95 era stuff. He has also created a video for a song on the soundtrack for the critically-acclaimed music documentary, I Dream of Wires featured on Netflix.
Hard Science has more up his sleeve. He is set to release his debut LP Dreaming in Stereo on Thursday, June 15, at Bar Robo. The album is a collection of tracks that have been produced from 2008-2016, a project that spans the better part of a decade. Dreaming in Stereo balances catchy synth pop with some experimentation, as Brisindi takes us on a sonic tour of his imagination. As we wander through the knobs and wiring in his brain, we find more than just drum machine loops and synthesizer effects. Hard Science draws us in through “pop,” but exposes the listener to a range of sounds produced from vintage equipment. These layers are also infused with interesting vocal samples and divergent arrangements, ultimately making it an album that is accessible enough for average listeners unfamiliar with this kind of production, but also complex enough for the hardcore gear and sound connoisseurs.
I had a chat with Hard Science about the new album, have a read and listen below.
Hard Science will be releasing the album at Bar Robo on June 15, doors at 8pm. Dreaming in Stereo will be available in vinyl at the event, as well as online through Analog Kitchun Records and streaming on Bandcamp.
Interview with Hard Science
Can you explain briefly how this album came to be?
The album really flowed from my vintage synth collection and all the exploring that I did as it grew (I guess you could call it gear-driven?). It all started back in early 2009 when I scored a Roland Juno 60 and a Roland Jupiter 4, along with 707, 909 and 808 drum machines. Throughout the years, I acquired more and more of these classic vintage synths, drum machines and tape echoes. With every acquisition came a new song. With every song came the urge to get more synths. Synths are sort of like chips; you can’t have just one.
Starting around 2012, I got into video and took a bit of a break from working on the album and music in general. Most of the groundwork for the album was done, with the exception of vocals and non-synth instruments. These parts came together between 2013 and 2015 with the help of Caleb Abbott and Olexandra Pruchnicky (vocals), along with Jason Redmond (bass), and Jose Palacios (guitar).
Unsure of what to do, and doubting that people would even like it (what would any self respecting artist be without crippling self doubt?), I put it on the back burner for a few more years. It wasn’t until this past winter that I decided to release the album, with a little push from my friends Grant Young, who released the vinyl edition on his label Analogkitchun Records, and Max Harwood, who offered to design my album cover out of the blue! I can honestly say that without Grant and Max, this album would still be sitting on my hard drive. So here we are, 9 years after recording the first song, and the album is finally out there.
What do the worlds of analog video and synth music have in common?
Quite a bit actually. Video synthesis uses some of the same fundamental building blocks as audio synthesis. It’s not uncommon, specifically in the modular video world, to see oscillators, mixers, modulation sources like LFOs and envelopes, VCAs, and filters. The main difference between audio and video is the frequency range. Audio is limited to 20Hz to 20,000Hz, whereas video signals can go up into the megahertz! Overall though, the methods used in modular video synthesis are almost identical to those of audio subtractive synthesis.
Can you talk about the synth scene in Ottawa?
The Ottawa synth scene is starting to hit its stride. With things like the Switched on Synths series and SOSFest at House of Targ this weekend, Possible Worlds’ Producer Meet-up Series, Not Normal, National Drone Day, synth meets, plus a bunch of other events popping up here and there, we’re starting to see a lot more engagement and comradery. With the Ottawa Synths Facebook group, people from all over Ottawa/Gatineau have a place to mingle, talk shop and sell their wares. I’m seeing collaborations between members and friendships forming. It’s a beautiful thing.
What can newcomers to this kind of music/performance expect from the album release?
I’m a fan of pop music, so I try to make music that’s catchy and accessible. But at the same time, I’m a stickler for tone and atmosphere, so I try my best to add a very specific character to my songs. A lot my songs have that eighties feel to them. Nostalgia is a huge factor for me. I’m a child of the eighties, and there’s just something about that wobbly, drenched-in-delay synth sound that grabs me like nothing else. That and a heavy dose of gated reverb on the snare.
For the album listening party at Bar Robo (June 15th), we’ll just be putting Dreaming In Stereo on the loudspeakers for all to enjoy. It’ll be pretty laid back. For my SOSFest set at Targ (June 16th), I’ll be performing a whole new set of songs that aren’t on Dreaming In Stereo, but are still a similar style.