Ah, Guelph. Whoever would have thought the granola university town Torontonians love to mock would become ground zero in indie hipsterdom? Well, that’s exactly what’s been quietly happening over the last few years as the word about Guelph’s Hillside Festival has spread among the music-loving masses. Held on idyllic Guelph Lake Island at the end of July, the eco-conscious, community-minded three-day event puts the rest of the corporate-logo-stained, homogenous pack of so-called music ‘festivals’ to shame.
If you don’t know the drill by now, here ’tis: good food, good people, good music. End of story. Well, almost. Even though it’s been around for 23 years, it was only last year that Hillside sold out all three days for the first time, thanks largely to the knockout one-two punch of buzz bands Stars and Arcade Fire playing back-to-back on the mainstage to close Saturday night. Clearly those folks told their friends, because this year tickets didn’t just sell out, they did so in a matter of days.
When something as fiercely beloved as Hillside explodes in the public domain, there’s the inevitable backlash and outcry that goes along with it, and as such it came as no surprise that some wondered whether the little festival that could would start to change in the face of its newfound popularity.
The reality is that the music scene (with its current focus towards Canadian indie-rock in particular) has finally caught up with Hillside, not the other way around. This year’s slate of performers was as eclectic and well chosen as always, and festival organizers seem to have found ways to deal with some of the problems that arose from last year’s unexpected influx (litter, security issues, crowd control).
So do yourself a favour and don’t sleep on tickets next year-you may end up discovering The Next Big Thing well in advance of everyone else, or have a memorable experience revisiting an old favourite. But until then, here’s a (selective) look at Hillside ’06.
SATURDAY, July 29
The thing about Hillside is that you could very well see 12 straight hours of music (programming runs from 11 a.m. to 11 p.m.) in one day and hardly take in a single dud. Saturday is usually about rolling out the big guns, and sure enough, tearing oneself away from the stages for even a quick bite proved difficult.
Toronto troubadour Jason Collett set the bar high early on with a typically laid-back but endlessly infectious set that showcased both his exceptional songwriting and equally fine backing band, Paso Mino. The Barrie quartet has injected a welcome ’70s AM radio-slash-whiteboy soul vibe into Collett’s sound over the past year, as evidenced by groovy new tunes “I’m Not Over You” and “Out of Time.” Guest turns by Broken Social Scene mate Amy Millan and Collett’s 14-year-old son Dillon cemented the joyful all-in-the-family mood.
Putting Millan, the Stars songstress whose solo sound is a lovely hybrid of country, folk, and pop, on the same stage shortly afterwards was a smart scheduling move that saw Paso Mino doing double-duty as her band (also augmented by fellow Stars member Evan Cranley). Some have been underwhelmed by Millan’s recent Honey From the Tombs solo album because it’s far more low-key than Stars’ shimmering bombast, but let’s face it: the woman could sing the phone book and we’d all listen. From the near-perfect melody of the poppy “Skinny Boy” to bluegrass ballad “Baby I,” Millan’s angelic croon kept all the indie kids spellbound.
If there was one man who stole the show at Hillside this year, that honour would have to go to Mr. Owen Pallett, a.k.a. one-man violin band Final Fantasy. Lending his bow to several workshops over the course of the weekend, his own set was among the best-attended of the festival-the Island Stage tent was so unbelievably full during his performance that volunteers had to limit entrance after a certain point. Looping his choir-boy vocals and indelible violin melodies while also playing the harpsichord, Pallett’s virtuoso turn underscored the one sentiment on everyone’s lips: Next year, the main stage. By the time he brought up ex-boyfriend Gentleman Reg for a saucy cover of Mariah Carey’s “Fantasy” to close the set, there was already a lineup at the merch tent to buy his CD.
SUNDAY, July 30
Alt-country may be an increasingly tired genre, but Brooklyn “countrypolitan” collective Hem bring just enough of an edge to their sweet songcraft to keep it interesting. Pregnant vocalist Sally Ellyson’s striking voice (think Sarah McLachlan with more twang) soared over the sparse crowd gathered in front of the mainstage, but unfortunately most seemed more interested in catching a snooze in the blazing sun than paying too much attention to the group, who were making their first Ontario appearance.
A Hidden Cameras set is always rife with hijinks, but the self-proclaimed “gay folk church music” collective appears to be moving away from spectacle for spectacle’s sake and towards a more nuanced approach to their live show. That’s not to say all the eccentricity and frills aren’t still there-a dozen-plus members filled the main stage and the band handed out bright red blindfolds to the masses of eager indie kids (making the crowd nearly as much of a sight to behold as the action on stage). But frontman Joel Gibb seemed to sing with more focus, and the music seemed to matter more than the madness. The resulting giddiness brought a whole new meaning to the term “glee club.”
And of course, what festival boasting any sort of indie cred wouldn’t bring it all home with a closing set by everyone’s favourite It Girl Leslie Feist? The tiny powerhouse unleashed her soprano on the adoring audience, running the gamut from flirty and bold to hushed and earnest. A good part of the set comprised charming new songs from a forthcoming new album (look for a likely release in early ’07), many played on acoustic guitar instead of her trademark red electric. If anything, Feist’s rise to fame since she last played Hillside seven long years ago mirrors the festival’s own growth: sometimes the best-kept secrets are the most precious ones.
