Joanna Newsom w/Kevin Barker @ The Phoenix

My love for the music of Joanna Newsom has been well documented on this here blog, and her latest 3-disc extravaganza Have One On Me has been no exception. When I started listening to the record, there was a part of me that was a little bit perturbed at the fact that she has somewhat normalized her voice a little bit, feeling as if she was sort of giving in to all of the haters who didn't like the high pitched squeak that accompanied her last two albums. The words "acquired taste" followed defenders of her like the plague, but I have to say that personally, I never needed that period of adjustment. From the first time I heard her I remember thinking that this girl has something that I've never heard before, both in terms of musical expression and of course, in her vocals as well. The Milk Eyed Mender was an album that I enjoyed thoroughly, and Ys, well, that's just simply one of my favourite albums ever. The current album however, while supposedly more accessible, actually did take a few extra listens for me to appreciate, as the uncanny vocal similarities to Kate Bush just had me going back and listening to her again, which forced me to make comparisons, which led to thoughts like, "there may be many impersonators, but there's only one Kate Bush."

While I still maintain the accuracy of that statement, Joanna Newsom's album has grown on me, to the point where I enjoy it almost as much as her other two, and the internal build up in enthusiasm as the day of her show at The Phoenix was approaching had me feeling some definite high levels of anticipation. Yes, even with all of the shows that I see, I can still get pretty excited about them from time to time, and this was certainly one of those times.

This show, of course, was right smack dab in the middle of an especially rainy Canadian Music Week, which meant that I had already done enough running around and getting wet, so I tried to time it so that I would show up right at door time and I could just stroll in, while still being early enough to get up nice and close to the front. Well, my timing was off a bit, and I did end up standing in the windy cold rain for pretty close to a half hour, which didn't make me particularly giddy. Still, I was in and I was decently close to the front, so overall things weren't too bad.

The opening act was Kevin Barker, the guitarist for a pretty decent alt-country band called Vetiver, and a man who has worked with Devendra Banhart, Vashti Bunyan and Antony and the Johnsons. His set was quite subdued yet enjoyable, and he showed great respect for the fact that people were here to see Newsom by keeping it relatively brief, even quipping that like us, he can't wait till he gets off the stage as well. He played four or five mildly jammy numbers that would run the gamut of song structure with pop sensibilities and lead into slightly longer folk tinged expressive pieces, that would straddle that fine line between progressive construction and free form expression. It was all rather enjoyable, but after waiting in the rain for half an hour, I was really getting antsy waiting for Newsom to take the stage.

Photos: Kevin Barker @ The Phoenix (March 13th, 2010) on flickr
Myspace: Kevin Barker

When she finally did (after 20 more minutes of waiting), she looked simply stunning as she waved at the audience and then sat down at the piano to perform a perfect rendition of album opener Easy, with her voice impressively flawless. Accompanying her on stage were five others, sitting up front to stages left and right, playing all of the elaborate pieces on guitar, violins, trumpet, drums, flute and banjo. Joanna was in the unfortunate position of having to keep her set brief, since The Phoenix hosts a dance party on Saturday nights, which meant that when it came to setlists, she had to choose wisely, probably not an easy thing to do when you're promoting an album that runs over two hours in length. Still, I'd have to say that she did quite well, including my favourite songs from the new album (Soft As Chalk and the title track), as well as some older favourites (Inflammatory Writ, The Book of Right-On from Milk Eyed Mender, and Emily from Ys.) Another surprise was how down-to-earth and normal she seemed, which for me, seemed to run contrary to the distinguished nature of her music. There was a moment during The Book of Right-On where she forgot the lyrics, and the look on her face was priceless as she asked if anybody knew the words. There was another funny moment when she needed to tune her harp, which apparently isn't as straight forward as tuning a guitar, when she allowed her drummer Neil Morgan to banter with the audience to bide some time, where he told lame (yet endearing) jokes and fielded several questions about his own career, which made for an entertaining distraction. Still, the highlights were, of course, the music, and I swear that there was even a moment during In California where I felt myself feeling a little verklempt, which really sums up the effect that her music has on those who get it. And when you're used to hearing peers (and anonymous blog commenters) talk about how much they hate her, there's something very comforting about being in a room of 1000+ people, standing so quietly that you could literally hear a pin drop, taking in the beautiful expressions that can only come from the pairing of a mythical harp and Newsom's magical voice.

This show was already reviewed by many, including The National Post, The Globe and Mail, Chromewaves, Chart Magazine, Exclaim and there's no doubt that For The Records will have his review up shortly also.

There's also plenty of great video footage from the show up on ANewCanadian's youtube channel.

Photos: Joanna Newsom @ The Phoenix (March 13th, 2010) on flickr
Myspace: Joanna Newsom

'Sup in March: Ten Picks

After a couple of months of relatively casual concert going action, it looks like the month of March is going to be a busy one for me, concert-wise. If you couple that with the fact that life is also going to be quite busy life-wise, than you're going to be looking at a fairly exhausted guy come months end. For the most part however, it'll be worth it, since the month promises not to leave me wanting in terms of high quality shows, so here are a few picks if you're looking for something to do.

For more detailed listings, as usual, go check out Stillepost, Zoilus and Jen's Semi-Weekly List (of shows under $10)

1. Joanna Newsom / Kevin Barker @ The Phoenix
(Saturday March 13th; Cost: $28)

I've been listening to Joanna Newsom's (pictured above) latest 3-disc opus Have One On Me over and over and over again this week, which is amazing considering the fact that it is certainly what one could classify as a daunting listen. Her voice may be a tad normalized this time around (no doubt making some people quite happy) but this is still an example of primo Newsom as it showcases her usual penchant for adventure, both lyrically and instrumentally. There are so many layers to peel back throughout this recording that I hope I'll be able to have it fully absorbed in time for the show, which is sure to be a classic performance. [Myspaces: Joanna Newsom, Kevin Barker]

2. Thrush Hermit @ Lee's Palace
(Fri. Mar 26th - Sun. Mar 28th; Cost: $17.50)

The reunion of the boys in Thrush Hermit admittedly brought me mixed feelings since my tastes have changed a little bit over the last 15 years, and I'm fairly indifferent to the solo version of Joel Plaskett. Both this fact, and the other fact that I have not listened to the Thrush for several years had me wondering if the old tunes would still do it for me in my advanced age. Well, I recently dusted off both the Smart Bomb EP and Sweet Homewrecker and I hafta say that both of those albums held up exceptionally well, proving to me that Plaskett's former band truly was a different beast altogether. Two sold out nights at Lee's, with undoubtedly a third one on the way confirms that they've still got the ability to generate some great enthusiasm. [Myspace: Thrush Hermit]

3. Canadian Music Fest @ Various Venues
(Wed. Mar 10th - Sun. Mar 14th; Cost: $63 for the 5-day pass)

To be honest, I'm still perusing the schedule for this one, trying to use the opportunity to focus on bands that I wouldn't normally get to see, but making a decision on what to do ain't coming as easily as it has in the past. I'll keep you posted on some picks in relation to this as we get closer to the date. [Myspace: Canadian Music Fest]

4. Language-Arts/ The Pinecones / Allie Hughes @ The Garrison
(Friday March 5th; Cost: $6)

Vancouver's Language-Arts are an amazing band that I only recently was introduced to, but within seconds of listening to their debut LP Where Were You In The Wild, I knew that this band was going to be right up my alley. Their airy and organic tones, in theory, should really serve as a contrast to Kristen Cudmore's pixie-ish vocals, but the pairing is one of pure magic as the compositions themselves are abstract works of art that defy characterization by showcasing something new with every listen. This is mesmerizing stuff that I'm curious to see how it will translate to the live stage. [Myspaces: Language-Arts, The Pinecones, Allie Hughes]

5. David Ford @ The Drake
(Tuesday March 9th; Cost: $11.50)

At first listen, David Ford doesn't seem like much, as his vocals are certainly not all that unfamiliar and the songs themselves at first seem like your typical pop fare. But as you let his sounds linger a bit, it becomes apparent that there is some pretty impressive Tom Waits-ian lyricism taking place, not to mention the articulate musicianship that refuses to limit itself within the confines of the 3 or 4 minute pop song. The looping machine is being used by many these days, but I guarantee that you have never seen it used to the impressive extent that it is used by this multi-instrumentalist, to the point that you can actually hear the sound of a full stadium band emanating from that stage, even though Ford may be the only person up there. If you haven't seen him live yet and you appreciate pure musicianship, than you owe it to yourself to be at The Drake on March 9th. [Myspace: David Ford]

6. Scout Niblett / Picastro @ The Horseshoe
(Wednesday March 17th; Cost: $11.50)

Scout Niblett is the perfect antidote for those who are suffering from "lack of rawness" syndrome. Too many artists start out with an intensely raw sound, only to trade it in for delicacy later on. (I'm looking at you Chan Marchall). Scout Niblett, on the other hand, is about as raw as it gets, with a sound that encapsulates all that grunge attempted to create, without actually be grungy at all. In fact, Scout probably has more in common with P.J. Harvey than Kurt Cobain, but if you're in the mood for some a little bit harsher than usual, her show comes highly recommended. [Myspaces: Scout Niblett, Picastro]

7. Spoon / Deerhunter / The Strange Boys @ Sound Academy
(Monday March 29th; Cost: $32.50)

There was a lot of excitement generated by this double bill, featuring the consistently catchy indie rock of Spoon and the atmospheric, yet still mildly hooky, ambient-punk of Deerhunter. While I'd imagine that a certain majority of the crowd will be there for Britt Daniel's band, I really hope that many will show up early enough to catch Bradford Cox's band, since they really are awesome live. I, however, won't be there in time for either since I think I've lost my ability to not be grumpy when I'm at the Sound Academy. Yep, don't think I'm in the mood for that. [Myspaces: Spoon, Deerhunter, The Strange Boys]

8. Justin Townes Earle / Joe Pug @ The Horseshoe
(Monday March 1st; Cost: $15)

When your father is a country legend and you're named after another country legend, I think it's safe to say that certain expectations are going to be pretty dang high. Well, if there was one thing proven by last year's Midnight At The Movies, it was that Justin is not one for undermining the aforementioned expectations. He may have definite similarities to his father Steve and his mentor Townes, but Justin Townes Earle is very much an individual songwriter and performer that is all his own, and from what I've heard, he puts on a pretty impressive live show too.  [Myspaces: Justin Townes Earle, Joe Pug]

9. Rodrigo y Gabriela @ The Phoenix
(Friday March 5th, Cost: $29.50)

I was recently thinking that I simply don't cover enough jazz tinged, acoustic guitar, instrumental duos from Mexico on this here blog, so I figured Rodrigo y Gabriela's show at The Phoenix would be an excellent opportunity to do so. Seriously though, Rodrigo Sánchez' natural abilities on lead guitar coupled with Gabriela Quintero's accompaniment on rhythm guitar is one of those great musical wonders of the world that I don't get the chance to see too often these days. [Myspace: Rodrigo y Gabriela]

10. The Besnard Lakes @ The Horseshoe
(Thursday March 11th; Cost: $16)

I would've assumed that The Besnard Lakes were big enough to fill a larger capacity venue than The Horseshoe by now, but I guess that the collective longing for neo-progressive orchestral flourishing isn't as intense as I thought. Perhaps the release of their upcoming new disc entitled The Besnard Lakes Are The Roaring Night will be epic enough to change that, In the meantime, smaller venues seem to be the way to go for this trippy outfit, and if The Horseshoe is still a little too large scale for you, than perhaps you can catch their instore performance the day before (March 10th) at Criminal Records at 6:30pm. [Myspace: The Besnard Lakes]

Honorable Mentions:
Steam Whistle Unsigned #13 takes place at the Steam Whistle Brewing Club featuring three of the city's finest in Make Your Exit, Everything All The Time and Dinosaur Bones (Mar. 5th / $5); TWM 58 looks pretty interesting, boasting a lineup including BA Johnston, Racoon Wedding and Andrew Vincent (Mar. 6th / $7); Brooklyn's Vivian Girls are playing The Wrongbar (Mar. 10th, $14); my friends Maned Young Lions are at The Horseshoe (Mar. 15th / FREE); and finally, one of my favourite local alt-country acts Elvyn is celebrating the release of their new album The Decline at The Silver Dollar with The Champion Heartache opening for them. That show takes place on March 26th (Cost: TBA)

Where I'll Be:
I've already got my tickets for Joanne Newsom, David Ford and Thrush Hermit, and I'm pretty positive I'll be going to see Language-Arts as well. Canadian Music Fest is pretty much a sure thing whether I'm officially accredited or not. I'll also be checking out as many instores as I can, including Zeus at Soundscapes on March 6th, as well as whatever other ones I can squeeze into my schedule. Gonna be a busy one peoples, so we'll see how I fare.

Bobby B's Top 50 Albums Of The Decade (#35-31)

For ramblings on how I came to compile this list go here. And for commentary on previous selections: [#50-46] [#45-41] [#40-36]

35. Ys - Joanna Newsom (2006)

I get an amazing number of hits to my site from people googling the phrase "I Hate Joanna Newsom", simply because the word 'hate' is in the title of this here blog, and I've talked about Ms Newsom on a few occasions. Of course, they're usually angered to find that when I make reference to her it's always surrounded by flattering phrases that couldn't be further from the idea of me hating her. On the contrary, I love Joanna Newsom! But it's understandable why some might find it hard to warm up to her. There's that high pitched squeaky voice, those meandering 17 minute songs, the preference for harps instead of guitars and not a hook to be found in the lot. But I don't think that you'll find a more ambitious album this decade, and the magical pairing of Newsom and Van Dyke Parks is an otherwordly adventure that begs to be experienced. This album is not made for dancing, nor is it a delightful piece of background music perfect for playing at your next dinner party. This album is a work of art and it deserves to be treated as such. This is an album that demands a listener's full attention as it fluctuates from mellow flowing movements to harsh gothic trajectories, all working together to create a musical number that is simultaneously enticing and unsettling. A challenging listen for sure, but well worth the effort. [Myspace: Joanna Newsom]

34. Hometowns - Rural Alberta Advantage (2008)

Admittedly, I'm still in the throes of RAA hype at the time of preparing this list, so it'll be interesting to see if this album's inclusion will be reflected on with rolling eyes by the time 2020 rolls around, but for now, I still find myself consumed in the glow of this masterful release. The fact that I still listen to the album as much today as I did a year ago when it was first released is a good sign, as is the fact that, despite my penchant for being contrary, I haven't felt the desire to rebel against the current hype, as overbearing as it is getting these days. For now, there's just no denying the fact that this is just simply a collection of great songs from start to finish with not really any duds in the lot. The challenge at this point will be where does the band go from here. A series of great songs this is, but I don't think I want their sophomore to be just more of the same. And as much as we all strive to judge an album based on its own merits, our human nature can't help but be tainted somewhat by future releases (see my #43 pick.) So the pressure is on, but in the meantime, I'm more than happy to enjoy Hometowns for what it is as it sits comfortably amongst my favorite releases of the decade. [Myspace: Rural Alberta Advantage]

33. Glissandro 70 - Glissandro 70 (2006)

My prog loving soul can't help but bask in the glow of this local post-rock amalgam of Craig Dunsmuir and Sandro Perri. This one time collaboration makes good use of the build up approach, with each cut opening with a few loops and repetitious drones before exploding into a series of sounds and styles that incorporate Afro-beats, tribal chants, progressive chord changes and even slight leanings towards electro. The opening song Something serves as a bit of a teaser, with a disjointed looping acoustic guitar being accompanied by sounds and atmospheres before giving way to Analogue Shantytown, which is a six minute piece that opens with a looping harmonica accompanied by a whispered 'shantytown' chant before transforming into an experimental piece that hearkens back to the early 80's period of King Crimson mixed with an almost jazzy vocal before embarking on a celebratory revisiting of the opening 'shantytown' chant that is all encompassing. The album's centerpieces, Bolan Muppets and Portugal Rua Rua are inspirational slices of 'almost' danceable psych flourishes that should appeal to fans of Animal Collective with their odd and challenging arrangements. The album ends with a trance inducing 13 minute track called End West that is pretty close to perfect, and makes me wonder why this collaboration has never bothered to release a sophomore album. On the other hand, why mess with perfection? [Myspace: Sandro Perri]

32. A Ghost Is Born - Wilco (2004)

Jeff Tweedy's experimental phase hit a whole other level with the release of this one. At first listen, I actually remember saying something to the effect that it was every bit as good as Yankee Hotel Foxtrot, and a natural progression from the expanding ideas presented on its predecessor. That opinion has obviously softened since then, but it doesn't mean that this album is not an outstanding achievement in its own write. There are many moments where the album feels as if it has a loose and improvisational feel, which is outstanding considering that Tweedy himself has commented on the fact that every guitar solo and moment of ambient noise was carefully organized and premeditated. The part at the end of At Least That's What You Said, for example, is intoxicating. There are also moments where the band sounds as if they're deliberately trying to alienate, most notably during the wall of synth at the end of Less Than What You Think. This may not be a moment that I always enjoy listening to, but I can't help but admire it to a certain extent. And then there's Spiders (Kidsmoke) and it's incredible jammy feel. The song is over ten minutes in length and yet I still find myself hitting the repeat button whenever it plays. Simply amazing. [Myspace: Wilco]

31. Figure 8 - Elliott Smith (2000)

While it's true that throughout the Elliott Smith catalog there are moments that are more philosophical (1997's Either/Or), more heart wrenching (1998's XO) and more experimental (2004's posthumous release From a Basement On A Hill) , for me no album is more enjoyable a listen than 2000's Figure 8. Smith's passing in 2003 was probably the musical death that I found most difficult to hear, simply because for me, it seemed to come out of nowhere. While it's true that clues of his unhappiness were always prevalent in his lyrics and even in his interviews, I honestly didn't see it coming and I was always looking forward to seeing him perform live. So Figure 8's upbeat and positive feel is just the way that I would prefer to remember him. And I realize that titles like Everything Means Nothing To Me and I Better Be Quiet Now don't exactly scream positivity, but the dreamlike nature of the music and presentation just makes me picture in my mind a person who was relatively happy while he recorded these songs. That's the image that I choose to see whenever this album is playing and it always makes me smile. [Myspace: Elliott Smith]

Tomorrow: Bobby B's 50 Albums Of The Decade (#30-26)