A cold Friday night, good friends, an incredible line-up, and an unlikely venue made this show one of the most unforgettable nights. The Legion was nearly empty when I showed up but by the very end of the night, the floor was packed with punks.
The show opened with Tightlip ferociously taking the stage after a screeching sound check. They blew the doors wide open and allowed people to warm up to the vibe that would overtake the night. The band didn’t hold back from bellowing bass lines, frantic guitar riffs, staccato drumming, and vocals that cut through the air in the form of screams. The elements combined all set the pace for the night and brought a rage to the scene.
The vocals were unfiltered, unperfected, roaring, and raw. They were filled with emotion, emitting frustration and anger outwards and filling the crowd to the brim with energy.
The drumming was heavy with use of the snare and cymbals. Each beat came in an extremely quick succession of one another–something that each drummer that night pulled off skillfully. Sometimes the crash of the cymbals and screams were synchronous, adding a layer to the songs played that only contributed to the harsh soundscape. Both the bass and the guitar melded together, having frantic and rushed conversation that squalled back and forth. Outbursts came from both ends, sometimes even so intense that guitar strings snapped.
Tightlip brought a tight-knit aggressive sound that burst with anger and radiated energy. They created this musical mess that dominated all while emanating a frantic sound that the crowd warmed up to and got lost in.
Toxic Thoughtsbrought forth a theme as heavy as their sound. Their music resonated with anger and aggression reflecting the struggles of being in one’s own body. The songs were held up by the drumming and supported by the bass line. Together these two components packed a punch that got the crowd roaring.
The guitar playing and controlled feedback added to the emotion of each song. Following closely with the bass line, the band incorporated it into the mass of pure noise and allowed the listener to really feel the emotions behind the music and vibrate within them.
Vocalist Felix Lahbabi-Granger threw himself around and thrashed about without regard as he bellowed into the microphone. Watching him provided a visual to the lyrics and it showcased a very real struggle that people deal with.
Starting with a slow progression and gaining volume and hostility as their set progressed, Toxic Thoughts kept the crowd stomping right along until the end.
DOXX brought a frantic and sporadic sound to the table, deconstructing the compositions to sew them back together loosely around Jeff Hurter’s bass line. Even the structure of the guitar solos danced around the heavy-handed bass. It’s dirty and messy but with a handle on chaos.
The band played with emphasis, accentuating heavier parts by slowing the otherwise quick pace. Through Kieran’s drumming, in particular, one felt the build-up to the release of tension and aggression. They were absolutely hostile and cold but completely balanced. The smooth progressions between that slow and heavy pace to the quick and bitter rage that overtook it was virtually flawless. Britt’s skills on the guitar kept the emphasis on the ferocity of each song. Even the shifts in pace felt smooth as opposed to feeling forced and out of place. It was an organised mess that added a depth to the songs that one may not expect.
Sof’s lyrics had strong socio-political views but they were delivered in a series of screams that carried a controlled tonal range. A rumbling grit that emerges from deep within and transitions to high pitched—it clawed at us and dragged us in. Her vocals played with the contrast of smooth and gritty but they carried a sound so impactful that you didn’t need to try and listen to it, you just had to let it hit you.
Refreshingly infuriated–that is the sound that Cell introduced to the crowd. It was pure noise with little to no differentiation between the bass or guitar–but don’t get me wrong, this isn’t a bad thing. The bass and guitar turned into a dynamic duo, thundering through the room.
The guitar was ferocious and echoed the bass, loose feedback kept a constant through the set. Through bleeding the guitar and bass line together, the solos really packed a punch and stuck out like sore thumbs. I found that through this technique, there was a deeper appreciation for all the solo work that was done.
The screams came out in bouts of fury. They were careless but well thought out, they progressed from calm to infuriated. It was high energy, fueled by what seems like pure anger with a twist of carelessness. The distorted vocals seemed to tear a sense of warmth through each of the songs. Don’t let that fool you though, the punch was packed into the screams that seemed to paint the room green and overturn the warmth. They held the old school punk feel, creating this nostalgia all while channeling an inseparable aggression and bringing something completely new to the table.
GAZM, a punk band from Montreal, delivered a full-blown performance without a single falter in the energy they emitted. Due to my synesthesia—the ability to see sound as colour—I noticed that GAZM painted the atmosphere all shades of oranges with hints of red speckled throughout. They sent off anger in waves but never burdened the crowd with it. Instead, the crowd too released the deep-rooted emotions, but in the form of a mosh pit. The sound that emitted is abrasive and aggressive but held enough warmth to envelop you in it and draw you in with ease.
The vocals were ragged and torn, ripping through the crowd without mercy. The lyrics, in combination with the cold drumming, the buzzing guitar, and the weighted bass created this burst of looseness and prompt people to open up a mosh pit. You begin to understand how the emotions and tension are released once you get sucked into one.
The quick succession of each drum beat prompted the thrashing and shoving, each instrument building and adding fuel to the fire. There seemed to be a release of anger in it. The band created noise that brought together shrill bends on specific notes that occur almost melodically. GAZM brought a sound to the room that is warm, save for the drumming, and you could hear it in the notes that are played.
They’re a band that can bring out emotion without leaving you with a burden to carry them past the present moment.
Each of the bands were loud, aggressive, and pack a punch which left a positive impact on those who attended. The show itself was one for the books, so next time these punk bands play a show, grab a friend and head on down. And remember, if someone falls, pick them right back up.
Megaphono 2018 was a banner year for the festival, and last weekend delegates from all over the glob descended on the capital for a weekend full of shows and panels. There were visibly more people out than previous years, and the programming brought crowds out to venues from deep in Hull and Gatineau, to Centretown, Hintonburg, Chinatown, Old Ottawa South, and more. Here are some of our photographer Els Durnford‘s best shots from Megaphono 2018.
It was another snowy day in Ottawa and another great day for a Megaphono showcase. This time it was an afternoon show at the Record Center with Ottawa’s Mushy Gushy, Area Resident, and Saint John, NB’s Little You Little Me.
Mushy Gushy blasted out of the starting block playing their first four songs with no breaks, and barely slowed at any point during the set fitting in as many songs as possible. The boys were on fire and so tight as they rocked songs from both their tapes and even treated us to a new track. They played “Summer Lusting” off their first tape Tight Snake. Not a much better way to remember that sunny days will in fact return than a song with the opening line of “Everyone wants to fuck in the summer time” while the snow was really coming down outside. The band played an assortment of fun and energetic tracks from Tight Snake and their more recent release, More Butter. The crammed in crowd at the Record Center was really digging the music with a lot of heads bobbing around. The new song they played was pretty smooth and I hope that means the band will have a new release for us this year.
Cory from Mushy Gushy laying down some riffs. Photo by Els Durnford.
Opening for Mushy Gushy was Area Resident, which is the musical project of CBC traffic man Doug Hempstead and friends. On an afternoon like this one, he was probably much happier behind his drum set singing his songs than talking about traffic in a snow storm. Doug is a story teller, whether it is the lyrics of his songs or between songs, the man has tales to share. I guess it pays off to spend your days working in a news room. With help from fellow CBC web and radio personality Kristy Nease, and Carleton University music instructor John Higney, Hempstead impressed the crowd and filled the room with warm vibes all around.
Kicking things off with the smooth and catchy song “Riverside,” they caught the crowd’s attention right away. Not only are the songs really good, but a lot of them actually have comical back stories. One of the funniest pieces was that while he was crowdfunding for one of his albums, a friend of his said he would donate but only if he wrote a song based off a bizarre OPP press release. The release was about some young kids who broke into a cottage in Lanark County and then drove away in a pickup truck, only to end up in the river. Then, of course, they refused to turn themselves over to the cop and just sat in the truck for 20 hours. Hempstead would have been remiss not to write a song about it, and “Lanark Double Soaker” ended up on the final cut of Area Resident’s latest album Delano. Another great track was “Warm It Up First” which is about the man who stole gold from the Canadian Mint by smuggling it out by putting it up his…well, you know. All in all, things really picked up as Area Resident played to the full house.
First up on the bill was Saint John, NB’s Little You Little Me. These guys have been around for quite a few years now, and their energy on stage showed no signs of slowing down. While I only caught the last few songs of their set, they set the mood for a snowy Saturday afternoon in Ottawa by playing some crunchy rock and roll for us to forget about the cold. Their brand of pop-laced garage rock is something that Canadian music fans are soaking up, and the guys took the stage with big smiles and set the tone. They played songs from deeper in their catalogue, and newer ones from their most recent EP entitled In Under Fourteen Highly Concentrated Minutes. These guys do a great job a sharing vocals and rocking their respective instruments. Each song got the crowd grooving along with them, and the band was clearly having a great time. Not to shabby for a bunch of guys who drove from Saint John to Ottawa the entire night before. But hey, that’s what bands do! Looking forward to these guys making their way back to Ottawa soon. All in all, it was another successful show at The Record Centre, and everyone left with smiles on their faces.
Foo Fighters, Dave Matthews Band, Beck, Jethro Tull, Courtney Barnett, and more to headline Ottawa Bluesfest 2018
RBC Ottawa Bluesfest has released its initial 2018 lineup, which will hit the stages July 5 – 15, 2018. Many whispers of Dave Grohl and his band of Foo Fighters being added were making their way around town, and the explosive rock band is one of many exciting inclusions in this year’s edition. The Dave Matthews Band, which was confirmed a few weeks back, will also headline the festival and give festival-goers a reason to get excited.
Other notable acts include Jethro Tull, Beck, Zeds Dead, the War on Drugs, Courtney Barnett, BROCKHAMPTON, Chromeo, Colin James, Shaggy, Oh Wonder, Ghostface Killah, Passenger, Machine Gun Kelly, Shawn Mendes, Naughty by Nature, the Strumbellas, Keys N Krates, Grandtheft, Hanson, Benjamin Booker, Noname, Dear Rouge, Kimbra, and more.
Some stellar Ottawa acts were also announced, including Catriona Sturton, Alanna Sterling & The Silvers, Amos The Transparent, Cody Coyote, Graven, Her Harbour, Okies, TAPAS, and many more.
A one-day pre-sale will begin early on February 15 at 10 a.m., with an adult festival pass starting at $209 (+ HST). A full-festival pass will start at $139 (+HST). All tickets will go on public sale February 16 at 10 a.m.
Check out other options and more details on the Bluesfest website. Have a look at the line up (so far) below.
TD Winter Jazz Fest: Feb. 8-10, 2018 La Nouvelle Scène, 333 King Edward Ave.
The TD Ottawa Jazz Festival, which had its initial run in June-July, is set to re-capture summer’s heat (and sweep you off your feet) with a roster of eclectic and steadfast names in jazz. The festival has consistently brought household names to the city since its humble inception as a weekend-long event in Major’s Hill Park, back in 1980. Founded by musicians for musicians, this year’s winter installment makes good on its roots with designated time slots for open jam sessions, bringing together jazz troubadours from near and afar in unlikely musical encounters. If that’s not honouring the spirit of jazz, what is?
More information and tickets can be found at the Winter Jazz Fest website here.
Thursday, February 8th, 9PM –Studio A
“Subtlety “and “grace” are traits that continually crop up in describing Barbra Lica’s take on vocal jazz. Though her restraint is key, she possesses universal humour and infectious wit, tackling love and love lost with the singularity required to sell her heartthrob telltales. Her voice is a marvel in itself, an old friend betraying warmth and wonder, emphasizing authenticity over acrobatics. Her third release to date, 2017’s Juno-nominated I’m Still Learning, has all this in spades. Don’t miss her performance this Thursday, which features an all-star quartet to boot.
Quartetski Does Bartók’s Mikrokosmos
Thursday, February 8th, 6PM – Studio A
These improvisational mad scientists launch the work of contemporary composers into the future, deconstructing and re-imagining the sonic possibilities of timeless compositions—employing “violin synthesizer,” melodica, and turntable, to name but a few notable deviations from the traditional jazz palette— through live experimentation with mood, colour, tone, and more. Sound daunting? Fret not (and excuse the pun). Though this sextet casts you into uncharted waters, they’re just as good at reeling you back in.
Steve Boudreau Trio
Saturday, February 10th, 5PM – Studio B
Steve Boudreau is an Ottawa gem, a jazz pianist and educator that’s more than earned his badge of instrumental virtuosity. He has long functioned as a secret weapon on the sidelines, jumpstarting the careers of young performers at Carleton University, as well as contributing compositions and performance to a number of productions across North America and Europe. With this trio—featuring John Geggie on bass and Michel Delage on drums—Boudreau has come into his own with a slew of original music and captivating tributes to Canadian composers. Ace arrangements, all seasoned players… what’s not to like? Be sure to check out this beacon for local talent.
Thursday, February 8th, 10PM – Studio B
Angeli’s Sardinian guitar is a truly unique instrument, boasting three sets of criss-crossing and parallel strings atop one another, motorized fingers and propellers—which often hammer out a bass or counter-melody to Angeli’s own melodic musings, and a modified bridge and headstock that allows the one-man orchestra to bow cello parts atop the instrument’s traditional acoustic guitar base (horizontal strings, contrarily, function more like a dulcimer). Armed with a looper and a soundscapist’s arsenal of pedals, Angeli jams with himself in real time, exploring exponential musical ideas that defy easy categorization.
Friday, February 9th, 9PM – Studio A
Ever experienced synesthesia? Chet Doxas’ “Rich in Symbols” comes close, fusing the saxophonist’s love and knowledge of visual art with modern, electronic-infused jazz exercises. Inspired by the art movement of New York City’s Lower East Side from 1975-85, Doxas wrote the music for this performance by ear while studying his favorite paintings in various museums throughout New York City. These very paintings will be projected in HD behind Chet and his accompanying quartet as they play, fusing the senses for a symbiotic smorgasbord of sax, vintage synths, and infectious grooves (keep your ears perked for that unmistakable 80’s influence). Expect a show as vibrant as NY graffiti.
It’s been just a little while since we had some fresh material from Ottawa’s own Shadowhand, and we’re excited to premiere their sultry new track “Split.” The song is the third single off Shadowhand’s debut LP Through The Fog, which will be released on March 10 at St. Alban’s Church.
“Split” is an exciting taste of things to come as we wait patiently for Through the Fog to come out. The band’s airy and restrained approach should not be mistaken for lethargy. Rather, they convey moodiness in a way that is not altogether gloomy, enthralling the listener with subtle flourishes and a wide open sound. It may be sombre, but there is a light that burns and shimmers as Shadowhand wades through the darkness.
Shadowhand’s lyrically rich songs are ever-evolving, and vocalist/guitarist Jamieson Mackay leads the charge for this groups ascension. Over the past few years, his growth as a musician comes both on stage and in the studio, and his songwriting and comfort level seem to have reached new levels. He is propped up by the brilliance of the band around him, which features the stage-hardened talents of Matt Corbiere, Brandon Walsh, and Sean Tansey.
The band will be releasing the full LP on March 10 at our Showbox Concert Series event at St. Alban’s Church. Joining them on stage will be The Heavy Medicine Band and Merganzer, which should make for an altogether dreamy night of local music (event here). They will also be playing Megaphono this Saturday, Feb 10 at Pressed.
The release will be followed by a tour of Southern Ontario and Montreal. The full tour dates are:
Ottawa folk troubadour Claude Munson is almost ready to release his new album, titled The Silence Came After.’ Although it has been six years since his full-length debut and the Storm Outside came out, we’re more than excited to share the first video and single off the upcoming LP, which is the song “Saluted by the Light Outside.”
The video suits Munson’s sound and aesthetic to perfection—it’s earthy, intimate, harmonious, and invokes emotive imagery and textures. The video was directed, filmed, and edited by Alexis Zeville and filmed in Québec’s mystical Laurentians. It captures shots of light and smoke breaking trough the trees, nature, and walks in the wood. There is a simplicity to it, and the contemplative story effectively underlines the song’s narrative.
On February 3, 2008, The Balconies took to the stage for the first time here in Ottawa. The band probably didn’t know what the future held at that time, but they quickly jumped down the rabbit hole into the unknown. Shows led to tours, tours led to funding, funding led to albums, which ultimately led to more tours. Their fan base grew from being their Ottawa friends to friends around the world, playing stages from SXSW to Europe.
Saturday night’s show was one of two for the band’s final send off for those loyal hometown friends and fans. Friday’s show appeared packed from the many Snapchats and Instagram stories floating around, and a line quickly grew outside The 27 Club despite the snow beginning to fall. The Love Machine reunited and opened up the night, and they too drew many familiar faces which were easy to spot as they wore shirts clearly reading THIS IS LOVE. Sing-a-longs of their early songs solidified that fans were in the house, and even those who weren’t familiar were able to sing and dance along to their catchy songs.
Finally the time had come for the much anticipated final show for The Balconies. The stage presence of lead singer Jacquie Neville energized the crowd, getting them to jump along to their favorite songs along with her signature hair flipping throughout the set. Though the small venue made for an intimate final evening, she was quick to point out the family support in the room, letting everyone know her grandmother, and other family members were in the house continuing to support them. The set began relatively early for a headliner, which meant the audience was in for a 90-minute set to tie-off the ten year journey of the band. During the final song (pre-encore) Jacquie hopped off the stage into the audience to have a sing-a-long, hug it out with some family and friends before hopping back on stage pointing out that everyone looked like they had cut onions before coming out.
As the band re-entered for the encore, they took a moment as they emotions of the room hit the stage and reality set in that these were the final moments for the band. A slow song to capture that emotion first, before getting the energy back up to end the night. Joined on stage by The Love Machine, they danced it out with the crowd before giving Ottawa one final bow.