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.
Ottawa has a new rock band, Galapagos, and they dropped a debut EP earlier this June.
The four-song release, Potential Space, starts off on fire with the song “Bike.” It kicks off the album with a flare for classic emo from the late 90s and early 2000s with a indie and garage flare connecting it back to the current day. Lead singer and guitarist Adam Ferris (also know as one half of the band Waxing Moon) described their sound as… “Think Ryan Adams meets Treble Charger smothered in American Football.”
Galapagos began as a folk duo that played a few shows in the spring of 2016. After starting up again last fall as a trio with a drummer, they wrote a whole batch of new songs. The EP is kind of a long time in the making explained Ferris “after some successful shows this past spring, we decided to record an EP. Due to creative and professional differences, we parted ways with our former drummer during the original recording sessions. The final version of Potential Space was recorded on the afternoon of May 20th, 2017 with Cameron Steacy (Organ Eyes) both playing drums and recording the EP.”
You can hear some of their folk beginnings in the second song “What I Deserve,” but you can also hear Steacy’s influence throughout the EP, especially on “Again” combined with the band’s vision to really make it a fuller sound. Steacy has recorded, mixed, and mastered other Ottawa artists such as The Yips, Bonnie Doon and Fire Antlers.
Potential Space is a great starting point for a band that has already seen several members change over and has grown from two-piece to four. I really enjoy how much diversity they fit into a four song release and see much potential in all the different avenues for the sound to continue to grow. I also really look forward to catching them live as I think the emotions and honesty would translate very well in an intimate setting.
Check out Potential Space below and also keep your eyes peeled for Galapagos in August as they play August 19th at Café Dekcuf with Sweet Rocket and BINOS and August 24th at Pressed with Basement Revolver.
Galapagos also participated in the Shot In The Dark Sessions, be sure to check out their live video session for the song “Bike” coming out online July 24.
Chicago’s The Blisters are rolling through Ottawa on their way to the River & Sky Music/Camping Festival which is taking place about 4 1/2 hours north-west of Ottawa passed North Bay.
The Blisters play River & Sky Saturday at 4 pm, a couple hours after Ottawa’s very own New Swears, and the same day as PUP, Heat and The Lonely Parade. Before that we are lucky enough to have The Blisters in Ottawa at Pressed this Friday, July 21 along with Toronto’s Giant Hand (info here).
In anticipation of the show we had a chat with The Blisters’ drummer Spencer Tweedy (yes, he is the son of Wilco front man Jeff Tweedy) about the band, touring, and the new album.
What are the main inspirations for The Blisters as a band, musically or otherwise?
We started in 2002 when we were all seven years old. The main inspiration for the band was just that we all wanted to be in a band… We played and we thought it would be cool. I (Spencer) actually started with another friend of ours, who’s not in the band anymore, but Hayden and Henry joined shortly afterward. Tory joined during high school, and we’ve had that same line-up ever since. It feels pretty cool to have been a band together for so long.
For people who haven’t seen you live before, what is a Blisters show like?
We play some loud songs and we play some quieter songs. We don’t typically have moshing or anything like that, but it’s fun when it happens. Typically we see a lot of gentle head bobbing.
You guys are playing River and Sky Festival this weekend. Was this something you guys applied for or did they come looking for you?
Our friend Brett approached us with the offer. I told him that we’d love to play, but that we’d probably need to set some other shows up in Canada to make it feasible. He very kindly helped us do that, too.
How does it feel to be touring in Canada right now? Any highlights so far?
We’re only just arriving in Canada, but I’ve been here before and I love it. We’re all from Chicago and we love that city but Toronto feels like the closest thing to it outside of it. I think we all have the feeling that Canada is a kinder, cleaner America.
You are touring a new album, are there any cool stories or anecdotes from the recording or about the songs you can share?
We made Cured at our friends Liam and Sima Cunningham’s studio, with Dorian Gehring. We made it in about a week and it’s a pretty straightforward record. Henry wrote some of his most badass, roots rock material for it. We always experiment when we’re recording but this one ended up pretty straightforward.
Many people could guess what lead you to music, but what lead you to the drums in particular?
I don’t know what led me to drums. The first time I played was when I was two years old and someone plopped me on a kit in the basement of my mom’s bar, Lounge Ax. After that my parents bought me some sets over the years, and I kept on learning. I’ve played guitar for roughly as long, too, but at some point drums became my main thing. I like the James Brown story/myth about him telling his band that they’re all drummers—guitarists, bassists, etc., all drummers. I’m not a “drums supremacist” but I think that’s a helpful way for everyone to look at music.
The second last night of Bluesfest was actually dry…yes, you heard that correctly. Dry. The beautiful sunny day held in there through the night and concertgoers came out in the thousands to enjoy some vitamin D and live music. The night was packed full of electrifying sets by Mushy Gushy, Night Lovell, Dead Obies, Wide Mouth Mason, and MUSE. Check out some incredible shots by our photographer Els Durnford.
It was a soaking wet night Friday night at RBC Bluesfest which saw sets cut short due to lightning crashes and torrential down pours.
The lightning had seemingly finally taken a break as headliner Live took the stage in the rain. They kicked things off with “All Over You” from their seminal sophomore album Throwing Copper with the opening line “Our love is like water,” which was very appropriate seeing as how the rain came down harder and harder. Hundreds of us decided to head to the beer tent for cover in hopes the rain would subside, but unfortunately it didn’t slow and the thunder returned. Three songs the band was pulled off stage and all the screens at the festival read “CAUTION” and asked us to exit the grounds. I was pretty disappointed, but completely understood. They had great energy and most likely would have put on a great show, but Mother Nature had other plans for that night. The following day organizers announced that anyone with a day pass for the Friday show could get free entry to either Saturday or Sunday which is quite a nice gesture given that the weather is completely out of their control.
Anderson .Paak was really into it at RBC Bluesfest in Ottawa. Photo: Els Durnford
Before Live and the terrible weather arrived, we grooved to Anderson .Paak and the Free Nationals on the Claridge Stage. Paak is a little bit of everything—he is a singer, songwriter, rapper, record producer, ,very talented drummer, and an entertainer. Standing on an riser at the front of the stage, .Paak danced and smiled ear to ear the entire time. When he wasn’t dancing at the front of the stage he was behind the drum set for a couple songs showing that he is far from a one-trick pony. The crowd was feeling it and we were dancing up a storm to tracks from his hit album Malibu including the extremely popular “Come Down.” Unfortunately we must have been dancing too hard as the storm began to loom. .Paak was asked to leave the stage as a storm was coming, which he did hesitantly. I don’t remember that ever happening at a festival. Usually it a set is stopped due to inclement weather, not imminent weather. The lighting did eventually show itself and rain began to fall but not for another 10 minutes, which could have allowed 2 or 3 more songs. I know safety is very important but it didn’t seem consistent with other stages and acts.
During the pause the crowd broke out into a couple of sing alongs including “Twist and Shout.” Paak did return to the stage after about 20 minutes and clearly didn’t cool off. He jumped right back behind the drums and they launched into the super dancy and fun “Put Me Thru.” He then said “We don’t have much time so we are just going to skip right to the party” and played “Am I Wrong” as he stepped out from behind the drums and really got us all moving. It has been a while since I have danced this much at a festival show. Even with delays, .Paak and The Free Nationals were certainly my highlight of this year’s Bluesfest. This is the hip-hop I am looking for and the kind that is pushing the limits and creativity. I can only hope that it continues to grow and take space from trap, turning trap into a phase we will look back on like rap-metal.
Hugh Dillon of The Headstones rocking out at the RBC Bkluesfest in Ottawa. Photo: Els Durnford
Getting things started for me on this night was Kingston’s very own band The Headstones. Formed the year I was born (1987), the band is celebrating 30 years as one of Canada’s most influential alt-rock bands and provider of Can-con on radio stations across the country. Going into the show, I pretty sure I knew a few songs I could sing to, but once they started playing it was like riding a bike and I knew the words to almost every track. Lead-singer Hugh Dillon makes use of all the space at his disposition going all over on stage and off, heading into the camera pit by the second song to high-five fans and get closer to them. They threw in some excellent transitions to other great songs. For example, while playing “Settle” they flowed right into The Tragically Hip’s “Blow At High Dough” and later on they played a punk rock cover of Kenny Roger’s “The Gambler.” My highlight of the set was when Dillon went over to one of the camera men on stage and said “your shoulder must be tired let me take that for you,” taking the big camera onto his shoulder and pointing it at the crowd before the band played “Smile and Wave.” The band still rocks, still puts on a great show and I am very glad I caught them on this tour.
Wednesday’s weather forecast was a perfect summary of summer in Ottawa thus far. Rapidly oscillating between heat and cool, dry and wet, festival goers were not quite sure what to expect from the skies. That same sense of curiosity was also applicable to what many deemed the best night of the Ottawa Bluesfest schedule. Highlighted by bands that were the soundtrack to many of our upbringings, I still vividly recall the scene in Garden State where Zach Braff leans over to Natalie Portman in Garden State and plays her “New Slang” or the first time I heard the crescendo from Dance Yrself Clean. The nostalgia factor for those two bands alone was off the charts, but how would they sound in 2017 following lengthy hiatus periods?
To start the evening, Slack Bridges burst onto the Bluesville stage with incredible energy. The six-piece soul-funk band was propelled forward by their instrumentation, particularly the expanded brass section (they were joined on stage by special guest, the Texas Horns).
The song “Beholden” had the crowd beneath the tent moving and they played many new songs from their upcoming album, which comes out in October. Following their other recent sets at Jazzfest and the Ottawa Race Weekend, many in town are eagerly awaiting their what comes next.
Phantogram was up next. With their recent shift towards rockier and more hip hop elements, many fans of their older indie electronic sound were likely wondering if their music got them high anymore. Luckily, it mostly did, with new tracks like “Same Old Blues” resonating with the crowd both figuratively and literally (there was a hell of a lot of bass).
Lead singer Sarah Barthel’s energy is infectious and when classics like “Mouthful of Diamonds” and “Don’t Move” come on, it’s impossible to not start moving. And the nostalgia was only just beginning.
It’s easy to forget just how many hit songs The Shins had during the early 2000’s. “Oh, Inverted World” and “Chutes Too Narrow” were monumental albums that defined many individual’s concepts of the sound of “Indie” and thankfully, the band did not shy away from playing what the crowd came to see.
Jumping right in with songs like “Phantom Limb”, “Turn On Me” and “Girl, Inform Me”, the older-crowd-seeking-nostalgia was responsive, while the band initially appeared slightly bored. Thankfully, that didn’t last long as they got into the swing of things. Recently released track “Name For You” and “Sleeping Lessons” (the incredible opener from Wincing the Night Away) were good enough to convert any new fans in the crowd (i.e. those who lived under a rock from the years 2001-2007).
As LCD Soundsystem took the stage, the Ottawa sky couldn’t quite decide whether it would let their set-up full of electronics remain fully functional. Hastily covered with tarps and cloth, the band defiantly pushed forward, starting the night with “Yr City’s a Sucker”, a dance-punk anthem for us self-deprecating citizens in the rain.
The band’s veteran presence was certainly felt, their tight instrumentation (shout outs to the cowbell) and focused energy made each swell of a crescendo hit with maximum impact. Their recently released tracks “Call The Police” and “American Dream” fit into their set perfectly and really highlighted how nice it is to have them making new music. That veteran presence was also felt when James Murphy shouted out foam rollers for those of us with back pain from all the standing.
As the rain eventually decided to fall, the crowd made the most of the circumstances, dancing themselves clean beneath a giant disco ball with all of their friends (old and new).
After a well-deserved break on Monday at Ottawa Bluesfest, things picked up right back up where they started on Tuesday. There were plenty of stunning sets on July 11, including performances by RL Grime, Fetty Wap, The Zombies, July Talk, and many more. Our photographer Els Durnford captured some stunning shots of the action on day two of Ottawa Bluesfest, check out the photos in the gallery below.
NYC’s Fruit & Flowers made a quick tour stop in Ottawa on July 5th, playing an energetic show along with Sally Ride and Deathsticks at Pressed. Sally Ride—now known as Steve’s Job—opened the night with some meowing and gentle laughter as they transitioned into first song. The members of the band had nerves flowing through them but with their humour, banter, and strange aura of what’s possibly feigned confidence, they truly made it seem like they were naturals. Despite it being their second show, they perform as if they’ve been on stage countless times together. The band is one that kicks off everything summer is, and with their light and airy sound they sound like a redefined indie rock.
Sacha’s vocals are distorted and in the background, but very prominent at the same time. The almost monotone singing lulls you into a dreamy state but the guitars, drums, and keyboard bring you back to reality, keeping you on that edge. With intricate riffs, a strong bassline, and keyboard playing that sounds almost like synths, the band really ties it all together, almost like a gift that was chosen especially for you.
Not only do they play very well, but the band is one that’s impressive because of the versatility of instruments they switch to. With Hillary, who mainly plays the drums, switching to keyboard, up front and centre, and the guitarist and keyboard player switching to drums. The lot also know how to turn awkward banter funny, and get the crowd to participate in it as well, creating a more intimate feel to the entire set.
Fruit & Flowers, a band from Brooklyn, NY, began by introducing themselves with the classic riff from all those movies where people get on their surfboards and start shredding the wave, it started as surf rock. Don’t let this fool you though. The band itself is a very hipster looking band with an angry but equality elegant and beautiful sound. This band redefines anything you thought could be punk. They bring an entirely new set of sounds to the genre while playing with the classic sound that we love. The bass player and lead vocalist, Caroline, was up front and centre and her playing shook us to the core. She has a light and fairy-like aura but she shreds like there is no tomorrow.
Between the two guitars, her bass, and the drums, there is always a rhythm set while Ana plays intricate riffs over it, really setting a tone. Gentle vocals mixing with a fast doesn’t work, but the fast-paced bassline and prominent guitars make the crowd want to move, whether it is dancing, swaying, shifting foot to foot, or jumping up and down. They turn punk into a genre you can dance to. The solo’s fall nothing short of mesmerizing—impressive stage presence, with feedback, very quick playing, and smooth transitions back into the main verses. They bring in true punk energy mixed in with the quick pace that a band like The Misfits set.
The thing about Fruit & Flowers is that they also turn their sound into a psychedelic garage rock for some songs and it works because of the riffs played and the gentle and harmonic vocals. The band doesn’t restrict themselves to solely one genre which is really mind-blowing. Usually when every song on a record has a different take to it, it doesn’t work, but these guys have mastered it and have bent it to their will. The band is an absolute must see band if you ever find yourself itching to see a show packed with energy and artistic vision.
The last band to play was a band called Deathsticks. They are a duo but they sound far more numerous than that thanks to pedals and the drumming. The drum lines are ones that bring a new kick into it and truly encompass punk of the past, such as The Faith. They gave no mercy to the kit and the drumstick fell apart. The constant use of the ride and crash cymbal really set in the angry tone the band possessed, however the fact that she showed so much control while letting loose proved that Laura has truly mastered drumming. The guitar playing was absolutely wild in comparison to anything else I’d seen so far. It was all over the place, messy, but it sounded good. I’ve heard people say that punk noise sounds like shit, well let me tell you, this is very good shit in that case.
Matt’s slides and incredibly quick riffs turn into a muddle but listening to it closely, you can make out what he’s doing. The two have a Sonic Youth like dynamic around the vocals much like Thurston and Kim did but instead of singing they scream. Sometimes at the same time, other times not. They’ll have more spoken parts to songs like in Mountain Men and sometimes they’ll full out scream like in 30 Second Song. Had the setting been a dingy bar as opposed to Pressed Café, there would have been a mosh pit. The two play with feedback, letting it grow wild, and sometimes taking care of it when they planned to.
This is a band I’d go to see again—no doubt about it. If you want to throw yourself into a pit, experience the mind-and-eardrum blowing experience that is Deathsticks, please do so. I’ll probably see you there.