The big story at this year’s Canadian Music Week wasn’t what happened, but what wasn’t happening. In the past, the fest has offered a host of showcases of burgeoning indie bands about to break into the big time. This year felt much more subdued and less energized overall than in years past. This lack of excitement was at least partly due to the absence of independent rival festivals. Dan Burke’s usually competitive NeXT showcase was dialed down to one night and incorporated into CMW, while Keith Hamilton’s Pitter Patter Fest is holding off until the end of the month. CMW is also known to place more of its emphasis on its industry conference component than on its live music festival compared to Toronto’s summer city-wide music binge, North by Northeast. The massive blizzard that hit Toronto Friday and Saturday also put a damper on many fans’ clubhopping plans. That being said, there were amazing artists participating in the festival this year, it was just a little harder to find them. Here’s our look that what got us hot and what left us cold at CMW 2008.—JORDAN BIMM
Thursday, March 6
Econoline Crush – Tattoo Rock Parlour (9 p.m.)
Yes, after a hiatus of more than seven years, Winnipeg’s Econoline Crush are inexplicably back, and less relevant than ever. With ex-I Mother Earth-er Edwin tending bar at the sterile new Tattoo Rock Parlour, I thought for sure I’d entered a rift in the space-time continuum back to 1996—a sad time when rock music had hopelessly lost its way. Backed by three dudes who weren’t even in the band back when Econoline scored some moderate can-rock chart “success” with their industrial- meets-alternative sound, singer Trevor Hurst used all of his road-tested, focus group-approved stage moves to try to engage the 50 or so mook-rockers in attendance. Now shamelessly in the K-mart goth/nu-metal camp, Econoline Crush played a tight-sounding set that included their best-forgotten hits “Sparkle and Shine,” “All That You Are,” and “You Don’t Know What It’s Like,” as well as weak, derivative-sounding tracks off their ill-conceived 2008 release Ignite. Hurst’s blonde, spiky hair-do and his overuse of black eye-liner, coupled with the fact that dude’s gotta be pushing 40, made him look liked a decomposing zombie version of Sum 41 singer Deryck Whibley. Note to the band: If any of you have skills in a trade other than has-been alt-rock, now is totally the time to try that out.—JB
Rating: V
Dog Day – The Horseshoe (9:20 p.m.)
Whenever you get guys and girls in a band, there’s always a chance for stage magic. Think ABBA, or The Magic Numbers, or the way Stars’ Amy and Torq gaze longingly into each others’ eyes, acting out their put-on love stories as they sing them. Unfortunately, Halifax quartet Dog Day have none of this stage appeal, offering instead a fairly reserved live show that simply didn’t have the energy to match their catchy, upbeat tunes. From a stage presence perspective, it’s one thing for a musician to take pictures of the crowd as a way to document the proceedings. But when keyboardist Crystal Thili turned the camera on herself mid-song at a packed CMW gig for a MySpacestyle pic, well, that was just amateur.—Rob Duffy
Rating: VV
Katie Stelmanis – The Horseshoe Tavern (10 p.m.)
Critics are fond of comparing Blocks Recordings’ newest darling to a feverish sex session between Thom Yorke’s The Eraser and Kate Bush, but god damn, I think I’m in love. Between the uberhotness of a gingham-clad keyboardist and the too-cool-for-anything guitar player, Stelmanis reminded me of what I adore in all lady-fronted jam bands: the Sleater-Kinney kinetic frenzy, the laissez- faire of Luscious Jackson, the integral heat of Heart. Pounding on the keys, looking possessively heaven-ward, Stelmanis’ own impassioned vibrato on “You’ll Fall,” set to stylized bursts and shakes of electronic mishmash, was a call to liberate us girls. A closing cover of Carole King’s “Natural Woman” reminded me that unconditional love is often smite by hot, bleating emotion. I’m ready to commit to Katie Stelmanis.—CHANDLER LEVACK
Rating: VVVV
Yonder – The Cadillac Lounge (11 p.m.)
Sporting both string and brass sections, fitting Yonder’s nine members onto the small stage at the Cadillac Lounge (which was probably designed for a trio) was an engineering feat in and of itself, but these local alt-country pilgrims made do and put on a great show regardless. Fronted by Zachary Bennett, Yonder played selections off of their excellent brand-new LP Skywalk to Crescent Town and by set’s end their bittersweet melodies and soaring choruses had the patrons of this Queen West watering hole tipping their hats in appreciation. This band is only going to get better as their gigging schedule intensifies in the months ahead.—JB
Rating: VVVv
Plants and Animals – Horseshoe (11:10 p.m.)
Montreal trio Plants and Animals were all smiles for their Horseshoe showcase, and with good reason. After their Secret City Records labelmate Patrick Watson took home Canada’s foremost music prize last year, Plants and Animals are generating Polaris buzz already for their debut full-length Parc Avenue. With effervescent drummer Matthew Woodley positioned front and centre, the band ripped through a selection of the new tracks, including the new single “Bye Bye Bye,” which thankfully bears no relation to the regrettable ’N Sync song of the same name. While the live show lacked the charm that the piano arrangements add to the record, it was a thrill to see them in a small room, before the awards come rolling in and the venues get bigger and bigger.—RD
Rating: VVVv
The Meligrove Band – Supermarket (11:20 p.m.)
As far as I’m concerned, the only virtue of the Montreal-via-Mississauga Meligrove Band is their ability to be so completely mediocre it disarms you to their adult-alternative nerdcore shtick. Between unfunny stage banter, the three-piece unleashed a series of indie rock anthems that mixed Geddy Lee harmonies (soaring well into the upper registers by Jason Nunes), with uninspired piano-driven pop. Passing as Sloan-lite before the main event, the only standout was a Murder Records cover of Local Rabbits that supplanted all of the virtuosity, imagination, and plain musicality the original band couldn’t bear to muster onstage.—CL
Rating: VV
Small Sins – The Drake (Midnight)
Despite being signed to major label Astralwerks and embarking on international tours with acts like Scissor Sisters and Radio 4, Toronto’s Small Sins still seem to be strangely unknown to many in the city. Thursday night at the Drake, the quintet delivered another solid set of addictively catchy, energetic synth-pop songs from their two strong LPs, Small Sins and Mood Swings, along with a surprising and awesome electro cover of Hefner’s “I Took Her Love For Granted.” The band finds the middle ground between electro-funk groups like LCD Soundsystem and the simple, effective indierock of Spoon. Frontman Thom D’Arcy knows how to write great hooks and the band, particularly keyboardist/clapper Kevin Hilliard, bring a boundless energy and enthusiasm to the live show. If you don’t know these local lads yet, you should.—Luke Higginson
Rating: VVVV
Sloan – Supermarket (12:20 a.m.)
“We don’t wanna hear your new shit!” screamed one gothed-out CMW attendee at Sloan’s Bsides and rarities Murder Records closing set. The professionally graying alt-quintet soldiered on though, between small showings of their vast, eight album catalogue, interspersed with poppy, alt-rock newer fare—unfortunately of the “Stacey’s Mom” variety. Chris Murphy, in full ’70s shag appeal, encouraged handclaps and smiles as his workmanlike bandmates traded off on vocals and elaborate solos. Still, Sloan’s set made me long for the Twice Removed days, when their peppy, warbled jangle wasn’t outshone by say, The Born Ruffians. In a new single with the refrain “I’m not a teenager anymore,” Sloan seemed to understand this all too well.—CL
Rating: VVV
OPOPO – Sneaky Dee’s (1 a.m.)
Checking out the Upper Class showcase at Sneaky Dee’s I came across Toronto’s fiercest electro-trio, OPOPO. Utilizing programmed beats, live guitar, bass, and synths, OPOPO sound like a dancier version of the Klaxons, but with some late-’80s UK-rave influences. There was no shortage of rambunctious energy in the room, as sweaty members took turns diving off their bass amp and staggering into one another as the appreciative crowd head-banged and pogoed. Their tongue-in-cheek approach (they teased mini-covers of Death From Above and Justice’s Simian remix) kept the atmosphere fun and unpredictable (if a tad unfocused) as they closed out the first night of CMW. Upper Class (or some cool label) needs to make something happen with these guys, as the potential for greatness is totally there.—JB
Rating: VVVV
Friday, March 7
Alanis Morrisette – Masonic Temple (7 p.m.)
Even with Ryan Reynolds out of the picture, Alanis Morrissette still kinda rocks. In her brief, five-song set for smug, middle-aged CHUM-FM contest winners, Morrisette kept hits like “Thank You India,” “Hands Clean,” and yes, “Ironic” accompanied by safe, pedestrian arrangements by her backing band, including an inspired use of an accordion. Charismatic and iconic in leather pants, the mangy soprano burned into my nine-year-old brain was startlingly clear, reaching high over the MTV cameras, bursting with wellpracticed emotion. (Girl even knows how to stay relevant, revamping her “Ironic” lyrics to include: “It’s like meeting the man of your dreams and meeting his beautiful… husband!”) A showman without the Celine Dion affectations, Morrisette was content to let the audience sing her lyrics, scream their adorations, and thank us for the opportunity. Strangely enough, 50-year-olds dance out their aggression more intensely than the Drakesters witnessed at Woodhands, but I guess it helps when mini-hamburgers are at the ready.—CL
Rating: VVVv
Peter Katz – El Mocambo (11 p.m.)
Toronto’s Peter Katz is all but destined to find success in the world of adult-contemporary, MOR rock music. His songs will chart on Mix 99.9, Jack FM, and stations like it across Canada. Soccer Moms and vanilla executives will swoon for his jazzy pop-rock sensibilities. While his songs aren’t particularly interesting (I’m pretty sure his chord structures have all had previous lives as Goo Goo Dolls singles) the large crowd at the El Mo was definitely digging his charismatic stage presence and affable banter. Without a doubt, he does the anthemic pop-rock ballad really well—I’m just not convinced that the world needs another Eagle-Eye Cherry right now. That being said, I’m sure his upcoming Canadian tour will be very well-attended. Also, his keyboard player needs to learn to play standing up, it’s way more rock and roll that way.—JB
Rating: VVv
Slim Twig – The Drake (11:15pm)
With abstract projections covering the walls around him, Slim Twig’s Drake set was a surreal scene on a cold night. Having performed earlier in the evening as one half of garage rock duo Tropics, he thanked the assembled crowd for welcoming him back to the stage before launching into a set that the line of 60 freezing people on Beaconsfield Ave. must have been disappointed to miss. With his band the Mercy- Mercenaries in tow, Slim ripped through a collection of synth-meets-rockabilly gems from his Whiite Fantaseee EP. While Slim Twig’s label status may remain as independent, his double duty at the Paper Bag Records showcase may be a good indication that a signing is imminent.—RD Rating: VVV
Woodhands – The Drake (12:45 p.m.)
During a festival that had trouble living up to expectations, homegrown electro duo Woodhands were a rare spectacle, putting on exactly the type of triumphant performance that music festivals are expected to offer. Singer Dan Werb conjures the look of a futuristic Buddy Holly, with horn-rimmed glasses and a keytar (yes, a keytar!) slung around his neck. He belted out tunes from the band’s upcoming LP Heart Attack with manic energy, but the undisputed highlight of the set was Paul Banwatt’s rapping on Woodhands’ cover of “California Love.” With Banwatt barely keeping it together while spitting out Tupac’s rhymes, Werb coming in with the chorus melody, and the crowd completely losing it in the process, the atmosphere at the Drake transcended what had otherwise been a lackluster festival to this point.—RD Rating: VVVVv
Saturday, Mar ch 8
Spy Machine 16 – The Savannah Room (10 p.m.)
I’d wanted to check out Guelph’s Spy Machine 16 for about a year but had never had the chance until Saturday night. I was very pleasantly surprised. The six-member band (supported by two hyper-enthusiastic dancers) blasted through an impressive set that combined elements of indie-pop and ’90s emo and sounded like Tokyo Police Club meets Cap’n Jazz, complete with synth solos, shout-along choruses, and intelligent, anti-imperialist lyrics. It didn’t take long for SM16 to have the scruffy-looking crowd at Savannah Room jumping up and down and flailing along to songs from their LP How Things Come Apart like “I Lost My Edge Last Night,” as well as new material like “Ronald McDonald House of Bullshit.” Singer/guitarist Dave Hudson also wins my award for Best Stage Moves Ever. It was impossible not to have fun at this show.—JB
Rating: VVVVv
Yoav – Lee’s Palace (10:50 p.m.)
Music fans who dared leave their homes to venture through the Saturday blizzard were forced to sit through a painful acoustic set by major label-signee Yoav. His attempt to craft arty, exotic pop gives way to self-indulgent posturing, an embarrassing adult-contemporary cover of the Pixies’ “Where Is My Mind?” and a live show heavily dependent upon lighting to make up for the lack of captivating music. Yoav prides himself on the trip-hop rhythms he produces by drumming on his guitar, but it’s still unclear whether his pretend drumming to what was obviously a pre-recorded track was meant to fool the audience, or if that’s simply his idea of performance art. Either way, I half-expected him to pull an Ashlee Simpson—miss a beat and launch into a jig.—RD
Rating: V
Fox Jaws – Rancho Relaxo (11 p.m.)
Barrie’s Fox Jaws have come a long way since I first saw them three years ago under their previous moniker Doris Day. Not that they were anything to scoff at then, but their addition of vocalist Carleigh Aikins to the lineup has given Fox Jaws an extra axis of awesomeness upon which to navigate. Aikins’ soulful voice easily rivals that of Beth Ditto’s and adds an extra punch to the band’s versatile indie-rock repertoire. At their best when they’re improving upon the territory initially staked out by Montreal’s Kiss Me Deadly, Fox Jaws also benefit from great melodic guitar and keyboards parts as well as solid and inventive rhythms. Playing songs off their new LP Goodbye Doris, Fox Jaws had the capacity crowd at Rancho packed up to the front of the stage, despite having to deal with a shitty Mesa Boogie guitar amp supplied by the festival. I’m not sure exactly what’s keeping Fox Jaws in Barrie, they’re definitely good enough to thrive as a permanent fixture in the upper echelon of Toronto indie- rock—plus we’d get to see them more often.—JB
Rating: VVVV
The Pigeon Detectives – Lee’s Palace (12:15 a.m.)
The garage rock boom of this decade has spawned yet another cookie-cutter replica of those who came before, The Pigeon Detectives—five fresh-faced English lads doing their best Libertines impression. This Rothwell, Leeds five-piece is built on a familiar foundation—bass, drums, and lead and rhythm guitars, and wildly energetic front man Matt Bowman, who bears a striking resemblance to Pippin the Hobbit, of Lord of the Rings fame. The Pigeon Detectives certainly do nothing groundbreaking, but that doesn’t mean their live show isn’t a good time. And they can write a decent song, too—their single “I’m Not Sorry” is by far the catchiest tune I heard all weekend. But ultimately, it’s bands like The Pigeon Detectives who consolidate the legacy of the Strokes and Libertines as rock ’n’ roll luminaries, because they were talented enough to take a familiar musical formula and make something artful and lasting out of it.—RD
Rating: VVv
