Saturday night at CityFolk delivered. Throughout a jam-packed lineup that featured not one but two performances by Fred Penner (the later performance was just for adults), there was no shortage of quality in spite of the quantity. Father John Misty’s thunderous closing set was backed by an opening lineup seemingly hand-picked to complement the dynamism and stage presence of Mr. Misty. This was a night of huge personalities performing captivating sets.
At first glance, the odd man on the schedule was Penner, whose musical stylings are most often associated with the children’s section of Chapters or CBC in the 90s. But there seems to be a very strong contingent of Fred Penner fans amongs those of Father John Misty, and nostalgia was strong on the air as a hanger full of nineties kids belted out “sandwiches are beautiful, sandwiches are fine” as a 70-year old man serenaded them.
Penner’s set was wholesome fun. He puts on a great show, and is still just as charismatic as he was when his catchy-as-anything kids tunes first hit the playgroups. He has the energy of a man still doing what he loves after what he admits is quite a long time. Forgetting the lyrics to the second verse of a song requested by an audience member he exclaimed that he hadn’t played the song in 30 years, something of which most of the room’s occupants had no concept.
Also on the Ravenlaw stage, Common Deer played a dream-poppy dynamic set, with long harmonies over tight beats and fantastic musicianship across the stage. With cello, guitar, keas and violins blaring, the group is a great example of what can be achieved when innovative musicians approach indie rock tropes. Also, their name is good.
On the City Stage, The Philosopher Kings capitalized on a bit of the nostalgia thrown into the air by Penner. The Canadian band, best known for their cover of the Godley and Creme song “Cry” in 1998, is staging a comeback with the release of their first album in eleven years and a stylish new music video for the song “Still The One” (no, not the 1998 Shania Twain song).
The Kings put on a great show, and frontman Gerald Eaton proved that the 90s are most certainly not dead with his Timberlake-esque dance moves and microphone technique. To their set, there could be no greater contrast than that of Corb Lund and Ian Tyson which followed. The two legends sat throughout a beautiful set of country and blues tunes, harmonies echoing across the Lansdowne lawn. The audience followed suit, sitting in rapt silence as two of the greats did their thing. But soon the stage cleared for the main event.
Father John Misty is a thing to behold. So much could be said of his look alone. The bearded, longhaired man in tight pants and a sport jacket look has taken off in large part due to this man, and I can confirm that many people at the concert on saturday were sporting said look. It’s a good look, don’t get me wrong. But no one wears it like Father John, whose real name is Joshua Tillman.
Interesting side note about Josh Tillman: he has played in many of your favourite bands, including Fleet Foxes, Pearly Gate Music, Demon Hunter and many more. To me, Father John Misty seems like a persona of his, to which I attribute much of the over-the-top theatrics associated with the act.
That look of his features heavily in the show he is putting on. We know this because at every opportunity the lighting director (excellent job, by the way) found a way to backlight Father John so as to emphasize his form as he danced wildly, throwing his arms up like Michael Jackson used to do.
Misty himself takes on a role similar to that of a cult leader, asking his followers to eschew the foibles of modernity (cell phones, texting, etc.) and play acoustic guitar in heels. It’s a little funny to be lectured about modern life by a walking brand, and maybe that’s the point. Maybe the hipsters are onto something after all.
Unfortunately for Yours Truly, Matt Mays was so crowded no one was able to get in. I’m sure he was very good.
Photos by Els Durnford
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