Frank YangQ: Without a new record to promote – Mr. Love & Justice has been out for close to two years – what reason did Billy Bragg have for staging an ambitious cross-Canada tour?

A: Who cares? Any time you get the opportunity to see Billy Bragg live, you take it, no questions asked.

Of course, I say that having missed his last three appearances in Toronto – the September 2006 show at the Music Hall for not one but two weddings, the June 2008 in-store at HMV because I was working and the show that same night at Harbourfront for no reason I can recall. So Tuesday night’s show at the Phoenix marked the first occasion I’d see him perform since March 2006; in other words, far too long. The fact that this tour was somewhat without context was extra exciting, because the two proper shows of his I’d seen before were great but a little too rich with context – the 2006 show was to promote his Volume 1 box set and as such, only included material from that era and the July 2003 show at the El Mocambo was part of his “Talkin’ Woody” tour and as such, was almost 100% Woody. So it goes without saying that there was a LOT of material I’d been waiting a long, long time to hear live.

Support for the tour was perfectly chosen, with none other than hometowner Ron Hawkins – former frontman for my beloved Lowest Of The Low – kicking things off. It was an eminently logical choice as The Low and Bragg had played together back in the ’90s and Hawkins’ sharp folk-punk songwriting owes Bragg more than a few debts. Performing solo and acoustic, Hawkins showcased material from his new album 10 Kinds Of Lonely amidst some great banter, a tune from his other old outfit The Rusty Nails and a gorgeous and unexpected cover of Ryan Adams’ “Oh My Sweet Carolina”. Damn, Adams had the goods before he lost his mind. And Hawkins, happily, still does. He plays a show at the Dakota Tavern tonight before hitting the road out west with Bragg.

I’ve never seen Billy Bragg play with a band, but having heard live recordings of he with The Blokes, I’m perfectly fine with that. Not that they sound bad – not at all – but when it comes down to it, all Bragg needs is an electric guitar. And a cup of tea. Kicking things off with the oldest of the old school “World Turned Upside Down” before leaping ahead to a sublime pair of those aforementioned never-heard-live tunes from Don’t Try This At Home – “Accident Waiting to Happen” and “Cindy of A Thousand Lives”. Yeah, this was going to be a good night. At first, however, it seemed that Billy might disagree. Though sounding fine, he seemed a bit distracted or even perturbed at first – at least not the gregarious rabble-rouser he usually was.

A few songs in, when he got chattier, he revealed one of the reasons for his mood – just a couple days prior, it was announced that the execrable leader of the ultra-right British National Party, Nick Griffin, was going to be running for Parliament in Bragg’s very own home riding of Barking – the sort of news would drive any sensible person up the wall, let alone one as politically-minded and leftist as Bragg. He quickly got into proper form, however, and that along with myriad other injustices in the world – politicians, bankers, the military, North American football (or “runny runny catchy”, as he called it) – were called out and used as fuel for his performance.

As always, his between-song banter was as essential a part of the show as the songs themselves, and while we didn’t get a Morrissey story this time out, but there were fine tales about Woody Guthrie’s tumescence (with regards to “Ingrid Bergman”), his reaction to the misreported death of Margaret Thatcher, guitar quotes of “Seven Nation Army” and “Smoke On The Water” during the implied trumpet solo in “The Saturday Boy” and a profanity-riddled reading of poet John Cooper Clarke’s “Evidently Chickentown” to name but a few high points.

For all the funning, though, Bragg never travels without a message or two and those were well conveyed through anthems like “NPWA” and “O Freedom”, the latter introduced with a pointed comment about Canada’s handling of the Omar Khdar affair. But rather than accuse and criticize, Bragg was aware that he was largely preaching to the converted with the mostly-packed Phoenix audience and devoted most of his efforts to inspiring and mobilizing, decrying cynicism as the real enemy. To punctuate the point, the main set wrapped with a rousing run of “All You Fascists”, “I Keep Faith” and “There Is Power In A Union”. Heady stuff, indeed.

And it wasn’t done. Coming back out for the encore almost as soon as he stepped off stage, Bragg would do his own version of the “Don’t Look Back” movement of playing complete albums live, running through his debut mini-album Life’s A Riot With Spy Vs Spy almost in sequence, saving “A New England” for the grand, singalong finale to two glorious hours of Bragg. The absence of “St. Swithin’s Day” or anything from Worker’s Playtime was a bit disappointing, but for someone with a catalog as deep as Bragg’s there’s just no way to satisfy everyone. The only answer, I suppose, is for him to keep coming back – no excuse needed.

JAM and Panic Manual were also in attendance at the show. The Scope, Vue, FFWD, Canada.com, See, JAM and The Coast have all been conducting interviews with Bragg as he travels the country. Ron Hawkins gets some attention from Vue and Buffalo News.

Photos: Billy Bragg, Ron Hawkins @ The Phoenix – November 17, 2009
MP3: Billy Bragg – “I Keep Faith”
MP3: Billy Bragg – “Take Down The Union Jack”
MP3: Billy Bragg – “Must I Paint You A Picture?”
MP3: Billy Bragg – “Valentine’s Day Is Over” (live)
Video: Billy Bragg – “NPWA”
Video: Billy Bragg – “The Boy Done Good”
Video: Billy Bragg – “Sexuality”
Video: Billy Bragg – “Waiting For The Great Leap Forward”
Video: Billy Bragg – “You Woke Up My Neighbourhood”
Video: Billy Bragg – “Levi Stubbs’ Tears”
MySpace: Billy Bragg
MySpace: Ron Hawkins

The Telegraph and The Sheaf talk to Dan Mangan.

Rolling Stone talks to Jay Farrar and Ben Gibbard about their Jack Kerouac project One Fast Move or I’m Gone.

Drowned In Sound meets We Were Promised Jetpacks.

Matablog has a video teaser trailer for Shearwater’s new album The Golden Archipelago, due out February 23 in North America, a week later than the rest of the world.

Rogue Wave have set a March 2 release date for their new record Permalight.

Mumford & Sons have released a new video from Sigh No More, which will be getting a North American release in the early part of 2010.

Video: Mumford & Sons – “Winter Winds”

Bandstand Busking has session with Micachu & The Shapes.

Self-Titled talks about Bonfires On The Heath’s non-musical inspirations with The Clientele’s Alasdair MacLean.

Frank YangWhite Rabbits have got it covered in the name-dropping department. Via TBD Records, they’re labelmates with a little British outfit called Radiohead and their critically-hailed second album It’s Frightening was produced by Britt Daniel, who sometimes moonlights in a band popular in some circles called Spoon. Yeah, the Brooklyn sextet have got plenty of ammo for cocktail parties, but it doesn’t necessarily tell you much about their actual music, does it.

Well the Britt Daniel part does, somewhat. It’s Frightening certainly borrows from Spoon’s dry, lean and punchy aesthetic and frontman Stephen Patterson’s voice does have a familiarly hoarse, wound-up quality, but dismiss them as Spoon-alikes at your peril. Not, like, “mortal danger” peril but “you’re missing out on a pretty great record” peril. Frightening kicks off with “Percussion Gun”, an intense bit of truth in advertising powered by the thundering tribal attack of the band’s dual drummers – one on a conventional kit, the other tasked with exponentially increasing the impact via big-ass toms. Add in Patterson’s aggressive piano (piano can indeed be aggressive) and howling vox and you’ve got not only one of the best opening tracks on any album this year, but maybe one of the best singles and videos. Translation, it’s impossible to not want to hear more of the record after that first salvo. And while It’s Frightening never quite reaches those heights again, it takes those same elements that make “Percussion Gun” such a blast and turns it into an undeniably solid record that crackles with energy that you just know would translate fantastically on stage. Toronto finally got a chance to find out if that was true on Saturday night when the band made their Hogtown debut at the Horseshoe with fellow Brooklyners Suckers in tow.

Rounding out the bill and providing the local flavour were recent The Balconies, recently transplanted from Ottawa and already becoming live fixtures and certainly one of the better/best new bands in the city. They again proved this to be true with their opening set, showcasing their terrific energy, razor-wire hooky tunes and the dueling sibling vocals of Jacqui and Steve Neville. Though there were a couple technical and performance flubs, I’d still put this performance as even better than when I saw them in August in terms of delivery and charisma, implying that as good as they already are they’re just going to get better. And that’s a scary thing. Find out for yourself at their next local gig on November 5, again at the Horseshoe, opening up for Dog Day and Immaculate Machine.

I’ve heard a lot of people talk about Suckers for months – mostly in a breathless, “oh my god, have you heard?” context – but had managed to not familiarize myself with them right up until the quartet took the stage. And after they left, I wasn’t grabbing people around me at random, breathlessly asking, “oh my god have you heard Suckers?” because, well, if they were right there then they would have, but I was pretty impressed. To say they have a lot going on is an understatement – all four are multi-instrumentalists, changing up instruments between guitars, electronics, percussion and brass, often in the same song, and taking turns with their distinct vocals or harmonizing in a way that probably shouldn’t work but sounds fantastic regardless. And that sentiment largely applied to their music at large – a collision of sounds and styles ranging from rock to soul to pyschedelia to gospel that by rights, should be a multi-car pileup but instead becomes a ballet. Not everything they did tickled my ear, but it did make a unique impression.

To answer the earlier posed question, yes indeed, the energy of It’s Frightening does indeed come to life on stage – and then some. Their set was pretty much a non-stop barrel ride through their two records, delivered with ferocious energy and no small amount of sweat. The band’s precision and rhythmic power was astonishing and watching them perform gave an even greater appreciation for the band’s musicianship. In particular, guitarist Gregory Roberts should get more credit for his vocal contributions (or maybe he already does, just not from me) and his ability to double Patterson’s leads or harmonize, depending on what’s needed – it may seem like just another cog in a complex musical machine, but it’s really a crucial element. And Patterson, even seated at an electric travel upright piano (not just a keyboard) as he was for most of the set, managed to inject a lot of physicality in his performance and while unable to match his bandmates’ stage wanderings, did get to partake in some instrument swapping in strapping a guitar on for a couple of tunes. As expected, “Percussion Gun” closed out the main set was the highlight of the night, putting the crowd into mosh mode for a few minutes. I wouldn’t even say that it was a conscious decision, but as most were already in a constant state of dancing/bobbing from the insistent rhythms, when hit with the big song, there was only one place to go – into the people around them. The band returned for a couple more songs and called it a night, closing out a tremendously solid night of rock. Add the band’s first show in Toronto to the list of things they can brag about t their next cocktail party.

hour.ca, Fazer, St. Louis Today and Seizure Chicken have interviews with White Rabbits.

Photos: White Rabbits, Suckers, The Balconies @ The Horsesehoe – October 24, 2009
MP3: White Rabbits – “Percussion Gun”
MP3: White Rabbits – “Kid On My Shoulders”
MP3: White Rabbits – “Percussion Gun” (live on MySpace Transmissions)
MP3: White Rabbits – “Rudie Fails” (live on MySpace Transmissions)
MP3: Suckers – “It Gets Your Body Movin'”
MP3: The Balconies – “300 Pages”
MP3: The Balconies – “Smells Like Secrets”
Video: White Rabbits – “Percussion Gun”
Video: Suckers – “Easy Chairs”
MySpace: White Rabbits

Thanks go out to The Indie Files and Hero Hill for bringing to my attention Worauf wartest du?, a collaboration between Albertan folk singer Rae Spoon and German electronic artist Alexandre Decoupigny which is available to download – presumably with artists approval – over here. And also exciting is the news that Rae Spoon is undertaking a tour of eastern Canada starting in November with a stop at the Rivoli on November 11. You may recall I was quite taken with Spoon’s latest Superioryouareinferior – quite looking forward to seeing him live.

MP3: Rae Spoon – “Come On Forest Fire Burn The Disco Down”

More dispatches in song form from Woodpigeon, currently in the middle of their residency at the Banff Centre. Die Stadt Muzikanten is due out January 12.

MP3: Woodpigeon – “Under, Behind & Between”
MP3: Woodpigeon – “Whole Body Shakes”
MP3: Woodpigeon – “Summer Side Of Life” (Gordon Lightfoot cover)

Gentleman Reg is putting out a new EP this Fall entitled Heavy Head. The six songs will be released digitally, two at a a time grouped by theme (covers, b-sides, remixes), starting on November 10 and be available as a complete package as of December 1. The Ontarion has an interview with Reg, who plays the Opera House in support of The Hidden Cameras on December 5.

Great Lake Swimmers will play a special benefit show for War Child on November 5 at the Dakota Tavern, the very thing Sloan did at the same venue just last week. Tickets are $35 and available at Maple Music. They play a regular show at Trinity-St Paul’s on February 6 of next year.

NPR, Cleveland Scene and The San Francisco Chronicle talk to Jay Farrar and Ben Gibbard about their Kerouac project One Fast Move or I’m Gone, which is streaming at NPR.

Stream: Jay Farrar & Ben Gibbard / One Fast Move or I’m Gone

Billboard talks to Gibbard’s Death Cab For Cutie bandmate Chris Walla about their contribution to the New Moon soundtrack.

Paste and Entertainment Weekly have interviews with The Swell Season. Strict Joy is out tomorrow and they play Massey Hall on November 2.

Apparently having still not paid off their ridiculous stage setup, U2 are extending their world tour and will be hitting Toronto for the third time in less than a year on July 3 at the Rogers Centre. Tickets on sale November 2.

Frank YangWhen I reviewed Wilco’s latest Wilco (The Album) back in July, I alluded to the absurdly tight musical chemistry of current lineup and how that effortlessness could actually be perceived as a detriment to the band. The same can be said of the band in performance – yes, they are arguably one of the best live acts on the road today, but with that praise comes certain problems. Like say you’ve seen said band, oh, a dozen times or more in the past decade and a baseline of “amazing” has been established for their shows – it’s very difficult for proceedings to not take on an air of over-familiarity, no matter how good they might be.

The one glorious exception in recent years was the second night of last year’s tour in support of Neil Young at the Air Canada Centre, where an absent Glenn Kotche necessitated a rotation of replacement drummers who got to call the set list. This resulted in an unbelievably spirited and unpredictable set that reached further back into the band’s catalog than they’d gone in Toronto in many, many, many years and the thought of which still brings a goofy grin to the face. So the fact that the band were soliciting requests via their website in advance of the shows made me hope that there’d be a surprise or five in the offing last Thursday night, the second of their two-night stand at Massey Hall.

Support for both nights was Liam Finn, whose acquaintance Wilco made whilst participating in the 7 Worlds Collide project organized by Finn’s father, Neil. And while Finn the younger has surely inherited his father’s innate musicality, he chooses to express it in a decidedly different way than his pop’s perfect pop (sorry – could not resist). Instead, he and collaborator Eliza Jane Barnes – and Glenn Kotche on a few songs – created a garage-rock symphony of looped guitar, voice, drums and keys and augmented it with some hyperactive and acrobatic stage moves that for all their seeming chaos were perfectly choreographed and timed to never miss a beat or cue. It was something to see and hear, and extra points for catering to the city and venue with a cover of “Cinnamon Girl”. Anyone impressed with Finn’s set – and that probably included most who saw it – should note that he’s back in town on October 29 for a show at Lee’s Palace.

The thing about Wilco shows is that, as previously mentioned, you are basically guaranteed a stellar performance. The only variables are the set list and, to a lesser extent, Jeff Tweedy’s mood. He’s never been outright surly, but playfulness isn’t a given either so catching him in particularly good spirits, as he was this evening, was a treat. Granted, it wasn’t until halfway through the night that he even addressed the crowd with a simple, “how you doing?” but interaction only grew from there, as he let the audience handle vocals on “Jesus, Etc” (though sadly, not everyone seemed to remember the words) and then mugging it up through “Hummingbird”. Nothing hugely atypical, but he was definitely having fun with it.

As to the song selection, the set list for the Wednesday show had a few treats I was sad to miss including “Shot In The Arm” and “Can’t Stand It”, but hoped that meant at least that many older gems for Thursday night. Those hopes dimmed when, as the main set was reaching its conclusion, it became clear that they had not yet and were unlikely to play anything pre-Yankee Hotel Foxtrot – at least not before the encore. Wilco (The Album) was well-represented, as was YHF and A Ghost Is Born – I hadn’t realized how long it’d been since I’d heard some of those tunes – but the much-anticipated catalog excavation wasn’t happening. What exactly had people been requesting? “Walken”?

The encore opened with “Wilco (The Song)” and the next song opened with a drum beat that was so familiar but hadn’t been heard in so long – “Misunderstood”. Hello, Being There, it’s been a while. Liam Finn and Eliza Jane Barnes were then invited out to join the band on “California Stars” and as they left, I noticed a stage hand ushering someone else onto the side of the stage. Another special guest, Ms Leslie Feist. Tweedy dryly noted, “I think she’s from around here” to great applause before they performed the (Album) duet, “You And I” – a good reading of a song that’s a favourite from the new record, but not as transcendent as I’d hoped. But that transcendent moment would come a couple songs later with A.M.‘s “Casino Queen”, which I’m pretty sure I’ve never seen them play and which they absolutely tore to pieces. C’mon Jeff, you can’t tell me that wasn’t insanely fun to play? It was certainly a blast to hear. Bust out the old stuff more often! They had time to finish off with, “I’m A Wheel” and then it was a wave and goodbye.

Was it a hell of a show, just like pretty much every other Wilco show? Yes, it was. Was the final set list the treasure trove of rarities that I’d probably unrealistically been hoping for? No, not even close to be honest, but we’ll always have the Being There suite from the ACC in 2008. I still love you, Wilco. See you next time.

And next time might be sooner than you think – the previously announced cross-Canada tour set for next February goes on sale this week. For southern Ontario, that’s February 23 at Hamilton Place Theatre in Hamilton, February 24 at Centennial Hall in London and March 1 at the National Arts Centre in Ottawa – presales for all open at 10AM on October 21, which is to say tomorrow.

And note that media were allowed to shoot photos on night one but I had a ticket for night two, hence the photo sets from both.

Photos: Wilco @ Massey Hall – October 14, 2009
Photos: Wilco, Liam Finn @ Massey Hall – October 15, 2009
MP3: Wilco – “What Light”
MP3: Liam Finn – “Plane Crash”
Video: Wilco – “What Light”
Video: Wilco – “Outtasite (Outta Mind)”
Video: Wilco – “Box Full Of Letters”
Video: Wilco – “I Must Be High”
Video: Liam Finn – “Second Chance”
Video: Liam Finn – “Gather To The Chapel”
Video: Liam Finn – “Better To Be”
MySpace: Wilco
MySpace: Liam Finn

Billboard talks to Jay Farrar about One Fast Move or I’m Gone, his Jack Kerouac-themed project with Ben Gibbard. He also clarifies that his project with Nora Guthrie is not going to be another volume of Mermaid Avenue, but something different. Another track from the Kerouac record is available to stream at Stereogum.

Jason Molina talks to Pitchfork about Molina & Johnson, the collaboration with Will Johnson that has yielded the album Molina & Johnson, due out November 3. Will Johnson, incidentally, is also working on the aforementioned Nora Guthrie project with Jay Farrar. Everyone’s workin’ with everyone.

PitchforkTV hangs out in Oslo with Bon Iver’s Justin Vernon.

The New York Times, Exclaim, Chartattack and BBC talk to Glen Hansard and Marketa Irglova of The Swell Season, whose Strict Joy is out next week and who play Massey Hall on November 3.

MP3: The Swell Season – “Low Rising”

Sufjan Stevens’ expressway love letter The BQE is out today and streaming at Spinner. There’s a screening of the film portion on September 25 at Innis Town Hall at the University of Toronto. The Quietus also has an interview with Stevens.

Stream: Sufjan Stevens / The BQE

Prefix has an interview with Ray Davies.

Band Of Skulls have set a date at the El Mocambo for November 13. The Line Of Best Fit investigates the musical tastes of bassist Emma Richardson and Rolling Stone declares them a “breaking band”.

MP3: Band Of Skulls – “Blood”

Fanfarlo have finally released the dates of their North American tour and it includes a December 15 show at the El Mocambo! YAY – Christmas comes early!

MP3: Fanfarlo – “Luna”

Blurt, The Independent and The Los Angeles Times have feature interviews with Wayne Coyne of The Flaming Lips, the last of which reveals the band have recorded a cover album of Pink Floyd’s Dark Side Of The Moon – and they proved it yesterday by performing “Eclipse” on KCRW’s Morning Becomes Eclectic.

NYC Taper talks to Darby Cicci of The Antlers.

Wye Oak give an interview to Tiny Mix Tapes.