…A correction to the winner of Monday night’s Polaris Music Prize. Head over to Contact Music for the exclusive info. Note: only relevant until their editors wake up.

Thanks to Renee for the tip.

Just so that we’re clear, I want to state for the record that I like Josh Ritter’s stuff. A lot. Though Hello Starling didn’t do much for me and I haven’t heard Golden Age Of Radio, The Animal Years was a terrific record, certainly one of the better ones released last year and his latest The Historical Conquests Of Josh Ritter is a fine follow-up that cements his status as an artist to watch, both right now and possibly for years to come.

But – and of course there’s a but, I started out with a qualification – I find that my enjoyment of Ritter’s records always comes with an aftertaste of frustration. It always sounds to me that Ritter is still looking for his voice, his sound, his style and that for all the great songs and lyrics he creates along the way, he’s not there yet. For example, on Historical Conquests, it sounds like he’s trying to create a loose and rollicking 70’s rock and roadhouse vibe to contrast with the expansive folk-rock of the last record and that’s fine, but you can hear him trying rather than just doing it. Similarly, he reaches a little too hard to channel Dylan, Cohen or Springsteen when I suspect just being Ritter would yield great results. The myriad different styles touched on over the course of Historical Conquests sound as much like someone trying to find their niche as much as indulging an eclectic musical palate.

It’s a vague criticism, I know, and probably somewhat irrelevant since it in no way diminishes the fact that he’s turned out two terrific records in just seventeen months, but it’s something that’s stuck with me over both those albums and I think it needed to be said, even if I don’t fully understand what I mean. But if you look at it from the right perspective, it means that at just 31 years old, Ritter has a lot of time to find that zone where he fits naturally and when he does, he’ll turn out records even better than he already has and that’s something to look forward to.

Ritter is in town tonight for a show at the Drake Underground but it seemed to sell out before any proper ticket info was released and I don’t even think I’ve seen it in advertisements or listings. I’m hoping it’s a semi-private, low-key sort of thing meant as a precursor to a proper show in a larger venue at a later date. His solo show at the Horseshoe back in February was a real treat but I’ve also got a hankering to see him with a full band. Here’s hoping. Glide, Harp and The Tandem all have interview features with Ritter.

MP3: Josh Ritter – “To The Dogs Or Whoever”
MySpace: Josh Ritter

Tuesdays are also known as new record day, but since I’ve been doing this blog it’s meant less to me as album advances showing up in my mailbox (real or electronic) weeks ahead of time have kind of diminished the excitement of the day (those of you who do leaks know of what I speak). Which is why I was actually quite excited yesterday as two new releases that I’d really been looking forward to hit stores without me having gotten a sneak preview – by gum, I was going to go to the record store and buy these puppies! Of course, I did it en route to an after-work event and haven’t had time to do more than take the plastic wrap off let along listen to them yet, but still. I gots em.

The first of these was Washington Square Serenade, the latest from Steve Earle. Over his last couple records, Earle has been in angry rock mode and while his ferocity and indignation over the state of American politics is energizing, it also resulted in some rushed or otherwise sub-par songwriting. I’m under the impression that Serenade is supposed to be a quieter affair, a paean to Earle’s adopted home of New York City and also perhaps influenced by married life. Steve getting domestic? For Allison Moorer, why the hell not? The New York Post, PopMatters, CMT and The Times talk to Earle about his new record.

And an aside – head to Information Leafblower for a teaser trailer for the fifth and final season of The Wire, in which Earle guest stars and this season, provides the theme song (the cover of Tom Waits’ “Way Down In The Hole” which also appears on Serenade). The trailer doesn’t reveal much but does promise more of the sunshine and lollipops that have made it the best show on television.

The other new release I was eager to get my hands on was The Weakerthans’ Reunion Tour, and I know everyone’s all Polaris-ed out right now, but I should mention that when The Weakerthans were mentioned in one of the band introductions at the awards ceremony Monday night, the roar that arose from the crowd rivaled anything that the nominees got. You want an early odds-on fave for next years prize? Look no farther than Winnipeg. Canadian Press has a talk with frontman John K Samson about some of the themes of the new album, the tour for which brings them to the Phoenix on November 8. There’s a second MP3 from the album up for grabs and you can stream the whole thing at their MySpace.

MP3: The Weakerthans – “Sun In An Empty Room”
MP3: The Weakerthans – “Night Windows”

So Much Silence has MP3-ified a couple of tracks from The National’s recent session for WOXY, where you can grab the whole thing as a single file. The Daily Trojan has a conversation with Matt Berninger, who leads his band through The Phoenix on October 8. Update: The Futurist has another session track to download in addition to the whole thing.

Gothamist talks to Will Sheff of Okkervil River.

Rolling Stone rattles off six questions for Spoon, in town at the Kool Haus on October 15.

Head over to the official website for the forthcoming R.E.M. in Dublin DVD to see a trailer for the live CD/DVD set due out October 16. Or don’t. I wouldn’t fault you if you just didn’t.

Well I certainly wasn’t expecting THAT outcome at the Polaris Music Prize gala last night.

A year after reaching into left field to declare Final Fantasy’s He Poos Clouds the winner of the inaugural prize, the grand jury reached even farther into left field to name Montreal’s Patrick Watson and his album Close To Paradise as Polaris champion for 2007. I’m actually not in a position to comment on whether Watson is a deserving winner or not because he was one of just two finalists whose work I am completely unfamiliar with – his two-song performance to open up the night’s ceremony was the first I’d heard of him and from that, I have to say I wasn’t especially overwhelmed.

Actually none of the performances had the same eye-opening effect that Final Fantasy’s did last year when you couldn’t help but wish that the grand jury could have seen him play as that would have settled all discussion right then and there. Which isn’t to say they weren’t good – they were all decent and made a case for why their albums had been nominated – but weren’t revelatory. The Besnard Lakes were certainly the loudest act and Julie Doiron the most jubilant – she seemed absolutely thrilled to be playing with her Eric’s Trip bandmates again. The Joel Plaskett Emergency delivered a raucous set and Chad VanGaalen opted not to play a selection from his nominated Skelliconnection but instead to unveil new material, including one song that sounded like he was channeling Neil Young & Crazy Horse. Miracle Fortress, who I was rooting for, closed the show out with a set that was in some ways better than the last time I saw them back in June but in other ways, still not nearly as tight or polished as the other performers. They did, however, have the best songs. Hands down. My hands, anyway.

The host for this year was Grant Lawrence from CBC Radio 3 and he was a huge improvement from Jian Ghomeshi last year. Simultaneously more succinct and still funnier, he kept things moving well though Ghomeshi still turned up to introduce The Besnard Lakes in monumentally long-winded fashion. Dave Bookman from CFNY was also a return presenter from 2006 and again proved he has no shame by singing an introduction for Julie Doiron to the tune of “California Girls” (he did the same thing for The New Pornographers last year, also cringe-worthy). But on the whole the evening went quickly and smoothly and was entertaining, even from the cheap seats (read: balcony) where I was again relegated. The production values of the event were far superior as well, with a much nicer and fancier stage setup at The Phoenix and – I think – better hors d’oeurves. Though we only got one drink ticket instead of two this time. Boo.

But back to Patrick Watson. After getting back from the ceremony, I’ve listened to the album (conveniently streaming at Spinner.com this week – link below – though as far as I can tell it’s already been released in the US) and am still at a loss as to how it was decided that this record was better than the other ten. Not to say that it’s bad at all, especially if you like the idea of hearing Jeff Buckley fronting a jazzier Coldplay, but I sincerely believe the Feist record or Five Roses from Watson’s labelmates in Miracle Fortress are far superior. But hey, I wasn’t in the grand jury room, I was in the balcony gnarfing down cheese and this is how it played out so congratulations to Watson, who was excited about the win because a) it allowed him to trash talk the Besnard Lakes (affectionately, I assume) and b) pay off a $16,000 bill they’d apparently just gotten for wrecking a rental van. So very rock. What was interesting was that the jury reached a decision far sooner than I expected – some predicted a hung jury, if possible, since no one could read any of the jurors’ particular biases. I guess they were all digging on Patrick Watson.

I’m already looking forward to next year’s Polaris as the 2007-2008 nomination period looks to have a lot of stellar releases that it’s going to be a challenge to have to sort out for my five picks, and not in the “I only own three qualifying albums” way that it’s been in the past. But that’s not till next May – let’s round up some other reactions to the win from Canadian Press (in which Pallett tackles the “they don’t need the money” elephant head on), Pitchfork, The Toronto Star and Drowned In Sound and I’ll add more response and reaction as the day creeps on and people shake off their after-party hangovers. Update: More from Stereogum, Radio Free Canuckistan (a fun, insider-y look at the event. Part two forthcoming), Zoilus, Chart, Macleans and Radio Free Canuckistan Pt 2. One of the grand jurors reports in to The Montreal Gazette.

Photos: 2007 Polaris Music Prize Gala @ The Phoenix – September 24, 2007
MP3: Patrick Watson – “Luscious Life”
MP3: Patrick Watson – “Giver”
MP3: The Besnard Lakes – “And You Lied To Me”
MP3: Chad Van Gaalen – “Flower Garden”
MP3: Chad Van Gaalen – “Graveyard”
MP3: Julie Doiron – “No More”
MP3: Miracle Fortress – “Have You Seen In Your Dreams”
Video: Patrick Watson – “Close To Paradise” (YouTube)
Video: The Besnard Lakes – “For Agent 13” (YouTube)
Video: The Joel Plaskett Emergency – “Fashionable People” (YouTube)
Video: Chad Van Gaalen – “Flower Gardens” (YouTube)
Video: Julie Doiron – “Me And My Friend” (MOV)
Video: Julie Doiron – “No More” (youTube)
Video: Julie Doiron – “Swan Pond” (MOV)
Stream: Patrick Watson / Close To Paradise
MySpace: Patrick Watson
MySpace: The Besnard Lakes
MySpace: The Joel Plaskett Emergency
MySpace: Chad VavGaalen
MySpace: Julie Doiron

Some Polaris-related odds and ends – Bootlog is sharing a Miracle Fortress performance in Kingston a couple weeks ago and Joel Plaskett will play a series of shows at the Horseshoe from December 10 through 13 to celebrate the venerable venue’s 60th anniversary. Each night he’ll be playing one of his albums in its entirety, except not Ashtray Rock as that will henceforth be known as the LOSING record and never be spoken of again.

And completely un-Polaris related, check out one of the songs from British Sea Power’s forthcoming Krackenhaus? EP, out digitally October 9 and in plastic November 20. It’s terrific.

MP3: British Sea Power – “Atom”

I’ve been singing the praises of Basia Bulat for almost a whole year now so seeing her play to two packed shows at the Music Gallery on Saturday (well the late show was packed, I’m assuming the early was as well) to mark the Canadian release of her debut album Oh, My Darling was an immensely satisfying experience.

The venue, which functions as St. George the Martyr Church when not hosting events, was a decidedly more formal setting than the cozy bars and festival stages where I was used to seeing Bulat and her band but even dressed up for the occasion, there was no repressing their giddiness on stage – even when they were trying to be proper and serious in thanking everyone for coming, there was always the hint that any of them would break out into a grin at any moment. Such was the tone of the night.

But it fit perfectly. Bulat’s ensemble craft chamber pop with the curtains and windows thrown open and sunshine pouring in – it’s the sound of rejoicing. Taking advantage of the church acoustics with the best vocal harmonies and string arrangements I’ve heard from them, Bulat and her band ran through pretty much every song in their repertoire and filled out the encore with covers of The Strokes and Sam Cooke. Two more disparate artists you’d be hard pressed to find but Bulat made them sound like a perfectly matched pair. A splendid evening to celebrate the emergence of a fine new talent.

A mention should also be given to Wayne Petti, who just as he did in opening for Patrick Wolf back in May, demonstrated a keen understanding of the role of warm-up act. He was warm and engaging and kept his set short, yet impressed enough in the space given to make me want to revisit his work with Cuff The Duke, whose new album Sidelines Of The City is out October 23. They’ve got an in-store at Criminal Records that same day and then a proper show at the Mod Club on November 29.

And I should note that the new track that appears on the domestic version of Oh, My Darling is “The Night”, a rollicking piano-led piece that’s been a highlight of their recent live shows. Instead of being tacked onto the end, it’s dropped right in the middle of the running order and you know what? It works. Well.

Update: eye also has a review of Saturday night’s show.

Photos: Basia Bulat, Wayne Petti @ The Music Gallery – September 22, 2007
MP3: Basia Bulat – “Snakes & Ladders”
MP3: Wayne Petti – “Moment By Moment”
MySpace: Basia Bulat

So tonight’s big to-do is the awarding of the second annual Polaris Music Prize. If Ms Bulat’s record had gotten a domestic release at the same time as the European back in May, she’d have been eligible though only by a couple of weeks and almost certainly not long enough to beguile enough jurors to make the shortlist – but now with a September release, she’s eligible for next year’s prize and I’m certainly expecting her to make my list.

But back to this year. Reuters has a piece on the real-world effects that making the shortlist has had for some of the nominees and The Globe & Mail looks at how all the nominees have fared with critics abroad. BrooklynVegan has analyzed the nominees and offers their prediction for who’ll walk away with the giant cheque (though if they’re correct, she’ll have to accept by proxy). Also not attending will be Arcade Fire, who will be in Seattle. Richard Reed Perry talked to that town’s Post-Intelligencer. Update: Radio Free Canuckistan offers up their predictions for tonight.

But six of the ten nominees will certainly be in attendance tonight – they’re performing. Of them, The New Pollution has a feature on Miracle Fortress, The Georgia Straight talks to The Besnard Lakes and QRO has a Q&A with Patrick Watson.

And looking now to bands who were eligible this year but didn’t make the cut, Great Lake Swimmers will play an in-store at Criminal Records on Thursday, September 27 at 7PM in advance of their show at the Phoenix on this coming Saturday. And Sloan have released a first video from Never Hear The End Of It. They’ve got a gig in town on November 25, venue still to be announced.

Video: Sloan – “I’ve Gotta Try” (YouTube)

And some activity from artists who’ll have records eligible for next year’s prize – The Sadies, whose swirlingly psychedelic New Seasons was out domestically last week and in the US next week, have a couple gigs scheduled for early November – on the 2nd at the Horseshoe Lee’s Palace and then on the 3rd at Lee’s Palace the Horseshoe.

AOL Music Canada features Stars, whose In Our Bedroom After The War is supposed to be out on Tuesday in old-school vinyl and plastic forms, but I can’t find any online retailers who seem especially interested in selling anything but the digital format that’s been available since July. Interesting. They’ve got a three-night stand at the Phoenix on November 26, 27 and 28.

And Neil Young added a third date to his Massey Hall residency that same week but that show, November 29, sold out as soon as it was announced as well. I managed to get tickets for the front row of the gallery for the Monday night and am as giddy as a little girl about it. Chrome Dreams II is out October 16 but if I understand the promotion correctly, all ticketholders get a free copy of the new album. Which makes that $100 a ticket price just a little easier to bear. Juuuust a little.

John K Samson explains to Chart it took The Weakerthans so long to record and release Reunion Tour, out Tuesday. They’re at the Phoenix on November 8.

The Acorn, another short-odds favourite for next year’s Polaris list, are streaming the whole of their new album Glory Hope Mountain on MySpace right now. It’s out tomorrow and they’re at the Horseshoe November 24.

Stream: The Acorn / Glory Hope Mountain

Carl Newman talks to Chart about the socially broken nature of The New Pornographers lineup, though the whole gang will be in attendance when they play The Phoenix on October 21.

Chart (again) gets the low-down on the sophomore effort from The Diableros, whose debut You Can’t Break The Strings In Our Olympic Hearts was on my short list for the 2006 Polaris Prize. Aren’t Ready For The Country is out October 16 and they play a CD release show at the Horseshoe on October 26.

And finally, The AV Club has put together a wholly uncomprehensive yet surprisingly thorough primer to the Canadian indie rock scene.

Back tomorrow with more Can-Con and dispatches from the Polaris gala. In the meantime, grok the finalists and offer your predictions for who walks away with the $20,000. Me, I think Feist should win but would be astonished if she did – instead, I’d like to see Miracle Fortress take it home. Either way, if you’re so inclined you can follow along at home as the ceremony will be broadcast live on the CBC Radio 3 Sirius satellite station, so to the six of you with Sirius radio, tune in!

It’s a peculiar bit of coincidence that Bloc Party always seems to come to town a week after I see them in Texas. First back in March after SxSW and now this coming Friday after after ACL. And while they’ve put on great shows both times I’ve seen ’em this year, it does take some of the urgency out of needing to see them again. Add in the fact that this week’s show has been moved from the Ricoh Coliseum to The Docks – a venue I hate only slightly less than Indiana Jones hates snakes. And since I don’t believe I’m being faced with a choice between either going to the Docks or being hunted down by angry, spear-wielding natives, I’m going to opt to pass on this show and go see Bat For Lashes at the El Mocambo instead.

But this isn’t about me, this is about you. Maybe you love Bloc Party more than a fat kid loves Smarties, and no venue can keep you away… well then I’d be tempted to ask why you don’t already have tickets but I won’t. Instead, I will offer – courtesy of Vice Records – one pair of passes to this Friday’s show, which also features Smoosh and Deerhoof. To enter, leave me a comment with your email address and a description of what your idea of a perfect “Weekend In The City” would be. Please keep it PG, though. This is a family site.

Contest closes at midnight, September 25 (Tuesday night).

MP3: Bloc Party – “I Still Remember” (acoustic)
MP3: Bloc Party – “Sunday” (acoustic)
Video: Bloc Party – “Hunting For Witches” (YouTube)
Video: Bloc Party – “The Prayer” (YouTube)
Video: Bloc Party – “I Still Remember” (YouTube)
MySpace: Bloc Party