Day two of the Virgin Festival was a much shorter one for me – a desperate need for rest and to get through some work prompted me to skip out the first half of the day and only show up for mid-afternoon. Not ideal, no, but necessary.

I got a bit of grief from people for skipping out on Australians Wolfmother at Lollapalooza in August, so I tried to make a point of catching them this time. Unfortunately, it wasn’t a fine enough point because I got there too late to see all but the end of their set. I wouldn’t have made it into the photo pit anyways – there was some haziness in my media status which kept me from getting approval from a few bands to shot from the pit and in the case of The Raconteurs to even shoot them at all, even from the audience. Long story, not worth getting into. Sufficed to say I had to fall back on some contingency plans as far as coverage went.

But as soon as I arrived on the island, I could tell the vibe was quite different from the day before. Besides the fact that the sun was out, there were a hell of a lot more people in attendance and they looked to be having a much better – or at least energetic – time. But that’s what a much more rock-heavy lineup will do for you, I guess. My personal tastes made the day one lineup of more interest to me, but the majority was definitely here for some three-finger devil salute action.

My first band of the day wasn’t what you’d call heavy, but the Sam Roberts Band is perfectly at home on the big stage and he does know how to work a crowd. With his blue-collar, no-frills rock’n’roll, plain white t-shirt attaire, and fist-pumping audience singalongs, I realized that I was in the presence of what probably qualifies as Canadian stadium rock. His stuff has never done much for me, but it beats Nickelback, I guess. And the man certainly gives good photo.

MP3: Sam Roberts Band – “The Resistance”
MP3: Sam Roberts Band – “The Gate”
MySpace: Sam Roberts Band

After Roberts’ set, Virgin honcho Richard Branson came by the media tent for a scrum and some pizza. Richest hand I’ve ever shaken. His big “stunt” for the event was riding a Harley onstage, though he was actually just a passenger and they moved about 20 meters, if even. The bar must be set pretty low if this is what gets you the title of “Renegade” billionaire. But the Virgin Unite “Heaven’s Angels” program that a portion of ticket sales went to support seems worthwhile, so I’ll give credit where it’s due.

I wasn’t allowed to shoot The Strokes from the photo pit but at least I could shoot from the crowd. The festival had been doing a good job to this point of staying on schedule but The Strokes managed to torpedo that quite handily by starting 25 minutes late. But apparently they had a good excuse as they were all sick as dogs and that fact also made the calibre of their performance that much more remarkable. Put simply, The Strokes kicked some ass. I hadn’t seen them live in some five years and it’s interesting to note that Julian Casablancas has managed to turn ennui into a stadium-level schtick, but it works for them. They leaned heavily on the old material, AKA the stuff that I knew, and that suited me fine – I heard the later records aren’t terribly special. I’ve no doubt that their sunset slot was the high point for many folks there.

Video: The Strokes – “You Only Live Once” (MOV)
Video: The Strokes – “Heart In A Cage” (MOV)
MySpace: The Strokes

As I said, with no photo permission and not being terribly interested in the band in general, I saw no point in sticking around for the Raconteurs. Instead, I hoofed it over to the second stage to see English electronica act Zero 7. They got off to a very late start and once underway, had technical difficulty after technical difficulty getting their expansive instrument setup to work (though the on-stage bar appeared to be functioning properly). Main vocalist Sia tried to cover with some improvisational cowbell jams but they eventually went with a few acoustic numbers to buy time- an interesting tactic for an electronic band. Luckily for them, there’s a large organic component to their sound and their songs were able to stand quite well on their own without the technology backing it. Jose Gonzalez also sat in for a few numbers contributing classical guitar and vocals, which was a nice treat considering I missed his solo set earlier in the day. Zero 7’s laid back electronic vibe isn’t really my scene but they can make it compelling live, even when their gear’s not working – and that’s pretty impressive. Respect.

MP3: Zero 7 – “You’re My Flame” (Dabrye Remix)
MP3: Zero 7 – “Futures” (Rub n Tug Remix)
MySpace: Zero 7

Making my way back to the mainstage, I caught the very tail end of the Raconteurs’ set and based on the size and enthusiasm of the audience, I can only assume it was a success. It’s not often/ever that you see a crowd clear out before Broken Social Scene takes the stage in Toronto, but there it was. It’s a strange thing when the appearance of the local heroes on a concert bill is a disappointment, but such was the case when they were called in to pinch-hit for the visa-denied Massive Attack. It’s nothing personal against the band, but Massive Attack would have been something really special and rare whereas BSS… well, you see them around all the time. But whatever, they were here, Massive Attack wasn’t.

To help close out the Summer in grand fashion, they rolled out the entire BSS lineup – Feist flew in from California for the show. With the lineup, set list and fight against enroaching curfew, the show was almost a carbon copy of their triumphant Lollapalooza set but not quite as, well, triumphant. Maybe not being in the underdog position had something to do with that and almost certainly the curfew staring them in the face, but it was still a typically sprawling and joyous event and those who were able to stop feeling bitter about Massive Attack or The Flaming Lips or whatever and just enjoy the moment were treated to a pretty damn good show. As usual, the high point was “Anthems For A Seventeen Year-Old Girl” featuring Emily Haines, Amy Millan and Feist together on vocals. Initially spread out across the stage, the three ladies of Broken Social came together as the song gradually built up and at it’s peak, they were practically nose to nose and ended in a group hug. Come on, that’s special. And considering that there seems to be more weight to the band’s claims of breaking up or going on hiatus or just going away for a while, this was a pretty good send-off – for the band and the festival.

Video: Broken Social Scene – “Fire Eye’d Boy” (MOV)
Video: Broken Social Scene – “7/4 (Shoreline)” (MOV)
MySpace: Broken Social Scene

Only a few more photo galleries to add to day one’s, but there’s some choice shots in there, especially of Broken Social.

Photos: Virgin Festival Canada @ Toronto Islands – September 9 and 10, 2006

Virgin Festival wrap-up thoughts after the jump.
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The slogan for the inaugural Virgin Festival in Canada was “From England With Love”, and early on it looked like love wasn’t the only thing being sent over from dear old blighty – Saturday morning kept up a steady rain that threatened to not wash out the festival, but make it a mudpit in the grand tradition of Glastonbury’s past. Luckily it eased up just before noon and even gave a peek of sun through the clouds, though that wasn’t to last – most of the day was defined by dreary overcast skies but at least it wasn’t raining. But while the weather wouldn’t dampen anyone’s day directly, it did end up having the last laugh in a sense.

Brantford’s Ohbijou got the honour of playing the first set of the day on the mainstage, and did so in lovely, understated style. An eight-piece chamber pop combo, their marvelously delicate, sweet sounds started things off with the woozy sensation of wiping the sleep from your eyes. While not really what you’d think of as festival sounds, I really enjoyed their set and will be seeking out a copy of their new record Swift Feet For Troubling Times. Wayne Coyne also hung out at the side of the stage for their whole set and gave them his seal of approval.

MP3: Ohbijou – “Misty Eyes”
MP3: Ohbijou – “Steep”
MySpace: Ohbijou

Next up on the mainstage was local shoegazey combo Mean Red Spiders, who were just recently resurrected after an extended hiatus. When I last saw them some seven years ago, they were all about volume – loud, loud, loud. On this day, however, they were all about the narcolepsy. Excessively mellow, they almost seemed to sleepwalk through their set. I understand that this might be part of their vibe and under other circumstances it might have appealed to me I left after a few songs, wholly unsatisfied.

After a brief break to explore what else the festival grounds had to offer, it was back to the mainstage to catch Phoenix, who I wrote up a bit last week. They proved to be the first band to inject some festival-y energy into things, engaging the audience and their small but dedicated (and vocal) fans with their breezy, gallic pop from their new album It’s Never Been Like That. I had hoped to be impressed by Phoenix coming into the day and that I was – not in a revelatory, ohmigod way, but I definitely enjoyed their set.

Stream: Phoenix – “Rally” (Windows Media)
Video: Phoenix – “Long Distance Call” (MOV)
MySpace: Phoenix

The Hidden Cameras continued the CanCon trend on the schedule, playing from their new album AWOO to the hometown crowd. Considering how much fun their show just across the lake two weeks ago was, I was quite surprised how subdued they were on this afternoon. There were moments of perkiness, like when tossing candy into the audience before “Lolipop”, but for the most part they chose pretty over rambunctious. They played terrifically – I’m really impressed how tight the band is – but at this point, the festival really could have used a kick in the pants from someone.

MP3: The Hidden Cameras – “Death Of A Tune”
Video: The Hidden Cameras – “Awoo” (MOV)
MySpace: The Hidden Cameras

The Dears, thankfully, were up to the task. I don’t know why I didn’t like The Dears before – I gave them a shot back in ’01-ish and didn’t really dig it. But either they’ve changed or I have because they sounded fantastic. The material I’ve heard off their new album Gang Of Losers is absolutely solid and live, they were passionate, dramatic, confrontational and beautiful (and Valerie Jodoin-Keaton is smoking hot – had to be said). Plus, they brought the sun out even if just for a little bit.

MP3: Death Or Life We Want You
Video: The Dears – “Ticket To Immortality” (MOV)
MySpace: The Dears

It should be noted that the day got started late on account of being unable to set up the stage in the morning rain, so the mainstage was running fifteen minutes to half an hour behind schedule from the get-go. I didn’t think too much of it earlier on, assuming they’d adjust the set times to compensate, but as it got later and they didn’t make up the time, I began to get curious/concerned about what would happen as the 11PM curfew came to crunch. Fears that would be well justified. But back to our story.
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Richard Buckner / Meadow (Merge) Without having actually heard him, I’d always thought Richard Buckner was “just” a folk guy – not that there’s any shame in that – but that presumption was proved very, very wrong from the first notes of his new album Meadow. “Town” is a superb chunk of roots rock powered by Buckner’s world-worn, 50 pack-a-day rasp wrapped around a superb vocal melody and ex-GBV axeman Doug Gillard’s fretwork. And as high as the opener sets the bar, the rest of the record – with a few more rockers and some folky numbers – measures up excellently. I don’t know if this is a typical Buckner record or an exceptional one, but I may have to do some back catalog digging. I had been looking forward to his September 16 show at the Horseshoe mainly for co-headliner Eric Bachmann, but now that I see that Buckner will more than hold his own, I’m even more excited. The album is out September 12. MP3: Richard Buckner – “Town”

Someone Still Loves You Boris Yeltsin / Broom (Polyvinyl) Their website proudly declares themselves as the “third best band on Weller Street in Springfield, Missouri” and that little bit of self-effacement does a pretty good job of setting the tone for the debut from Someone Still Loves You Boris Yeltsin. Well, that and the band name. They craft ultra-compact, mid-fi, 60s-were-90s indie pop replete with hand claps, jangly guitars and sweet melodies but with enough grit and scrappiness to not be overly saccharine or twee. If the fourth-best band on Weller Street wanted to move up in the rankings, Boris Yeltsin would be ready to throw down. Clocking in at 10 songs and not even half an hour, there’s not a wasted note – long enough to satisfy, brief enough to leave you wanting more. They’ll be in town with Birdmonster and Catfish Haven at the Horsehoe Monday night while the record, originally released last year on Catbirdseat Records, is being reissued by Polyvinyl on October 24. MP3: Someone Still Loves You Boris Yeltsin – “Oregon Girl” MP3: Someone Still Loves You Boris Yeltsin – “House Fire” Video: Someone Still Loves You Boris Yeltsin – “House Fire” (YouTube) MySpace: Someone Still Loves You Boris Yeltsin

np – Eric Bachmann / To The Races

The first of my two TIFF films this year was the world premiere of the Finnish martial arts film Jade Warrior (or Jadesoturi) which I figured would either be extremely amazing or extremely awful – but definitely extreme. No middle ground.

Surprisingly, it wasn’t an extreme film at all but quite slow and subtle. There were a number of martial arts sequences which were quite well coreographed and performed, but a lot of the film is rather talky. Basically, it’s a combination of the Kalevala, the epic poem integral to the Finnish national identity, and Wuxia martial arts stories. As the director told in the Q&A, it’s not an explicit adaptation of the former, but rather draws inspiration from the idea of a mythic hero who never gets the girl. In Jade Warrior, said hero’s story begins in ancient China as he prepares to face his destiny in defeating a demon and runs in parallel with his reincarnation as a modern-day blacksmith who is despondent over losing his girlfriend. Fate, in the form of a mysterious metal chest allegedly holding the key to happiness in the world, intervenes and ties the two together.

I admit I found parts of the film bewildering, probably mainly because of the unfamiliarity with the myths being drawn upon, but it was still quite engrossing and well-executed, especially considering the modest budget. It was made for under three million Euros but you really can’t tell – it never overreaches in the visual effects department and thus looks fine for the most part. The only aspect I really found to be bad was lead actor Tommi Eronen’s attempts to speak Mandarin. Obviously he learned his lines phonetically, but whoever was coaching him should be ashamed – his cadence is so slow, awkward and unnatural that he comes off more as mentally challenged than chosen by destiny. A relatively minor complaint, I guess, but still annoying.

But while I don’t know that Euro-Asian martial arts hybrids will be the next big thing in international filmmaking, based on Jade Warrior it is definitely a concept that’s worth investigating. As long it’s more like this and less like Kung Fu…

Trailer: Jade Warrior (Flash)

eye and Daylight’s For The Birds will release their debut album Troubleeverywhere. Better than a nickel in the Unicef box.

Lady Sovereign is at the Opera House October 24 while The Rapture are at the Guvernment on October 27. Full dates at Pitchfork for both.

Okay, off to the islands.

I was going to start this Virgin Festival preview off with a focus on Phoenix, but I guess the big news is the bad news that Massive Attack have pulled out of their Sunday night headlining slot because they were unable to secure their US visas in time. The fact that they’ve cancelled their Canadian dates because they can’t get into the US is a rather irksome, but I’m sure it makes sense to them. Even though I’m not really a Massive Attack fan, I’m disappointed because I expected they’d put on an amazing show whether you’re a devotee or not – alas. The last-minute replacement act will be Broken Social Scene and while that’s not a c-list substitution by any means, it’s not terribly exciting either. The hometown boys just don’t offer the international grandeur and mystique to the bill that Massive Attack did – and the V Fest lineup just became that much more identical to last month’s Lollapalooza. Oh well, what can you do besides read eye’s interview with Massive Attack and wait for the promised rescheduled dates.

Anyways. Phoenix. For the longest time, and even now, they’re ingrained in my head as that band with that song that I always heard at the indie dance nights that sounded so familiar and yet which I could never place. That song was “Too Young” off of their debut album United and as deliciously hooky as that song was, it didn’t smell of a terribly long shelf life and so I wrote them off as a one-hit wonder (without an actual quantifiable hit) and that was that.

But they didn’t go away. I didn’t hear much about their second album Alphabetical but their latest, It’s Never Been Like That, has been getting some serious praise from many quarters and with the number of familiar acts peppering the Virgin Festival lineup, I’m hoping they cover the pleasant surprise quotient of the festival. In addition to their afternoon slot on day one, they’re playing an invite-only gig at the Mod Club that doubles as the official V Fest launch party. Not that that information really does anyone any good. Ahem.

The fact that The Toronto Star, eye and NOW all ran interviews and features on the band this week indicates that I’m not the only one who thinks that they might be one of the sleeper bands on a pretty heavyweight lineup. Or maybe they all just found the French accents amusing.

Stream: Phoenix – “Consolation Prizes” (Windows Media)
Stream: Phoenix – “Rally” (Windows Media)
Video: Phoenix – “Consolation Prizes” (MOV)
Video: Phoenix – “Long Distance Call” (MOV)
MySpace: Phoenix

Another band at the fest who I’ve not paid much attention to in the past but who I am perfectly open to being impressed by are Montreal’s Dears, also on the day one schedule. Their new one Gang Of Losers came out in Canada last week and will be out in the US on October 3 (on Arts & Crafts, the label that incidentally is handling Phoenix’s record in Canada). The Toronto Star and eye talk to head Dear Murray Lightburn about the new record.

Headliners on day one will be The Flaming Lips, who will be re-releasing their latest album At War With The Mystics in deluxe CD/DVD format on October 24. Hey, ammo for those confetti guns ain’t cheap.

Chart interviews Eagles Of Death Metal front-stache Jesse Hughes, who are pretty much the only act that could entice me to the Future Shop stage on day one.

The AV Club talks to The Raconteurs, the penultimate act on the day two main stage.

And The Toronto Star is maintaining a special hub page dedicated to V Fest, including some pieces on performers, organizers and a quickie overview of everyone in the lineup. I assume it will be updated regularly over the course of the weekend. MuchMusic will also be webcasting live from the festival.

And tangentially – Doug Martsch of Built To Spill bemoans the corporatization of music festivals like Lollapalooza to City Pages. I thought the in-your-face sponsorship at Lolla was pretty subdued considering the scale of the event, but it’s probably a good thing BTS aren’t playing V Fest then. I’m expecting to be inundated with Virgin Mobile and Future Shop gewgaws this weekend.

Tonight kicks off what will be a mad, mad, mad fortnight for me – I am literally going to be pummelled over the head with culture. Over the next thirteen days, I’ve got 10 concerts (including the two V Fest days) and two Film Fest movies to hit, to say nothing of the fact that my day job (yes, I have one of those) is about to go critical mass with work and deadlines. FUN. I’ve been doing my best in the relative lull leading up to this to get a lot of pre-emptive groundwork done to make the workload over the duration easier, but it’s going to be pretty exhausting. How will I get through it? Two words: TRUCKER SPEED.

np – Someone Still Loves You Boris Yeltsin / Broom