Frank YangLike in most cities, there is a pecking order to venues that bands can play in Toronto that are commensurate to said band’s level of success. Start at the Horseshoe, move on to Lee’s or Mod, then the Opera House, Phoenix and Kool Haus. At this point the options going forward begin to diverge – the much-reviled Sound Academy has become the popular next step up (or down) but for a certain rarefied group of artists, the road ahead leads not to the city’s docklands but to the heart of downtown, at the corner of Shuter and Victoria – Massey Hall.

The National certainly followed that path, first bringing Alligator to the ‘Shoe in September 2005 and again following March, then quickly moving through the Opera House in Summer 2007 and selling out the Phoenix just a few months later on the back of Boxer. Clearly, this was a band ascendant. But even so, and even after selling out the much larger Kool Haus last May without even a new record to promote, the idea of the band graduating to Massey any time soon hadn’t occurred to me. Surely that would require some greater break into the public consciousness, or what they used to call “a hit”, and making hits has never seemed part of the National agenda. But apparently I underestimated things because The National were able to book themselves into the grandest room in the city for not one but two nights – the first of which was this past Tuesday – months before High Violet would be released and reach #3 on the Billboard charts. All this time I’d been waiting to see if they’d become big and I missed the fact that they already had.

The Antlers have found themselves on a similar upward trajectory, though theirs was even sharper. Last year’s breakout album Hospice took them from playing the Horseshoe last Fall through the Phoenix this past February supporting Editors to these two nights at Massey supporting their Brooklyn brethren. And while they were there as the openers, their set was ample evidence that they were just as suited to a setting such as this. Hospice is by no means a small-sounding record but in the live environment, The Antlers make it sound massive and as I’ve said in past reviews of their shows, they transform the record’s emotional content from anguish to something even more primal and visceral. And though I’ve seen them do it a few times now, it still packs an emotional gut punch. Given the potency of their performance and the intensity of the audience response, it’s hard to think that they’ll be playing the support role to anyone for much longer.

I’ve heard criticisms of The National’s live show as being too visually static or, more succinctly, as boring and while I protest out of principle, there’s always been some truth to it. On stage, they’ve always been very focused at the task at hand and while Matt Berninger has a certain charisma as frontman, it’s rooted in his well-documented discomfort with being on stage. It seems, however, that The National have heard some of these criticisms as well because they’ve stepped up their live game enormously. The core five piece of Berninger and the brothers Dessner and Devendorf were enhanced by a two-piece horn section and frequent collaborator Padma Newsome on keys and violin, giving them the tools to not only fully recreate the sonics of the albums but expand them even further. In particular, the subtle addition of the horns to many of the songs – as texture and punctuation, never as a solo instrument (thankfully) – gave them an extra dose of grandeur. The two hour set drew from all their releases save for their self-titled debut and ranged from the delicate (“Runaway”, “Daughters Of The Soho Riots”) to the raging (“Squalor Victoria”) to the just plain majestic (“Apartment Story”, “Fake Empire”), all of it sounding bigger, tighter and just plain better than I’ve ever heard them play. The National are truly at the top of their game, and while I’ve probably said that after each time I’ve seen them live, it’s always been true – until the next time.

The band were also far more engaging with the audience than I’d ever seen them, both between and during songs. The band engaged in more banter amongst themselves and with the audience than I think I’ve seen from them in the previous six times I’ve seen them live, joking and in Aaron Dessner’s case (I can finally tell the twins apart!) humbly acknowledging the history and significance of the room that they were now headlining. And to the latter, beyond the band simply being more animated and energetic than ever before, Berninger came off stage during “Bloodbuzz Ohio” and began pulling patrons up out of their seats, thus answering the eternal Massey question of whether to stand or not. He would again invade the audience during “Abel” and “Mr. November”, climbing through fans, over seats and even wandering out of the theatre into the hall. And on stage, his signature twitching and pacing seemed almost akin to dancing at points, though that may have just been him sliding on Massey’s polished hardwood. Certainly a far cry from the Kool Haus show, in which the tension of being between records, struggling with hammering the new material into shape and playing larger rooms for the first time was palpable… and exacerbated by the fact that Berninger seemed drunk off his ass.

In years past, the barroom setting was the perfect setting for The National’s brooding, last call barstool poetry but as their sound and audience has grown, they’ve needed a new setting and with these shows at Massey Hall – as well as those at similarly hallowed rooms such as Brooklyn Academy of Music, Radio City Music Hall and the Royal Albert Hall – it seems they’ve found one. I may not have initially thought they were at a point where they could fill rooms of this size and stature, but this show – and presumably the one last night – made it clear that they not only belong there, there’s nowhere else they should ever play.

The Toronto Sun, Chart, Spinner, Panic Manual and eye all have reviews of the show while The Toronto Star and Exclaim checked in from night two. The Montreal Gazette has a feature and has also posted the interview transcript with Matt Berninger. The Globe & Mail, Clash, Exclaim and National Post also all have interviews.

Photos: The National, The Antlers @ Massey Hall – June 8, 2010
MP3: The National – “Afraid Of Everyone”
MP3: The National – “Bloodbuzz Ohio”
MP3: The National – “So Far Around The Bend”
MP3: The National – “Fake Empire”
MP3: The National – “Son”
MP3: The National – “Beautiful Head”
MP3: The Antlers – “Two”
MP3: The Antlers – “Bear”
MP3: The Antlers – “The Universe Is Going To Catch You”
MP3: The Antlers – “On the Roof”
MP3: The Antlers – “Stairs To The Attic”
MP3: The Antlers – “Cold War”
MP3: The Antlers – “Keys”
Video: The National – “Bloodbuzz Ohio”
Video: The National – “So Far Around The Bend” (live)
Video: The National – “Mistaken For Strangers”
Video: The National – “Apartment Story”
Video: The National – “Abel”
Video: The National – “Lit Up”
Video: The National – “Daughters Of The Soho Riots”
Video: The National – “Sugar Wife”
Video: The National – “Son”
Video: The Antlers – “Bear”
Video: The Antlers – “Two”
MySpace: The National
MySpace: The Antlers

That took far too long to put together, so that’s all for today… save for this. After days of rumours and speculation, it was confirmed yesterday that The Arcade Fire would continue their string of Suburbs pre-release secret shows and stage a two-night stand this coming Friday and Saturday at the Danforth Music Hall, where they played three epic shows way back in April 2005. Tickets for the show are $37.50 after fees and go on sale at noon at the venue box office the day of each show. Cash on the barrelhead, one per customer, no savesies. Also no opener – doors are at 7, show at 8:30 sharp. Needless to say, these will be madness and people are probably already lined up. The Suburbs is out August 4 and another show for less crazy devoted fans happens August 14 on the Toronto Islands.

Eva EdsjöIt’s not an unusual tale for young acts to be discovered by veteran ones, but when the youthful protagonists of the story are Klara and Johanna Söderberg of Sweden’s First Aid Kit and the mentor is Karin Dreijer Andersson of the decidedly strange and oft creepy Knife and Fever Ray, it’s understandable that one’s imagination drifts to more Brothers Grimm territory. The truth isn’t all that sinister, though, as the Söderberg’s brother attended the same kindergarten as Andersson’s children and that connection led to the duo’s debut EP – 2009’s Drunken Trees – to be released on Andersson’s own label in Sweden before being picked up by Wichita in the UK and abroad.

Their proper full-length The Big Black & The Blue followed last month, and like its predecessor its a gorgeously out-of-time folk album built around the unconventional yet riveting voices of the two teenage sisters. Rich, rangy and emotive, their voices sound as though their owners were raised in some lost range of the Appalachians hidden under a nordic glacier and for all their individual quirks, intertwine in stunning, intricate harmony the way that only siblings can. Their material is perfectly matched to their delivery; acoustic and spare with just the right amount of embellishment and a world-weary lyricism that’s at odds with their tender ages but typically Scandinavian in tone. Their work isn’t as sophisticated as it could be or should be to be hailed as a great record, but keeping in mind that they are still just in their teens, it’s a remarkably assured work that can only get better.

First Aid Kit are currently in the midst of their first North American tour, and will be in Toronto this Saturday – June 12 – for a free in-store at Criminal Records at 4PM and a proper show at the Rivoli later that night. They’re keeping a tour diary for Filter and were interviewed by The Georgia Straight. And reaching back a bit, there’s a Take-Away Show with the sister act.

MP3: First Aid Kit – “I Met Up With The King”
MP3: First Aid Kit – “You’re Not Coming Home Tonight”
Video: First Aid Kit – “Hard Believer”
Video: First Aid Kit – “I Met Up With The King”

The Line Of Best Fit interviews The Radio Dept., who are about to re-release Clinging To A Scheme on limited-edition (1000 pieces) white vinyl on June 16. I know everyone goes on about how vinyl sounds great – which it does – but as the owner of a copy from the first run of vinyl, I can say that Clinging sounds AMAZING on vinyl.

The National Post reports that The Raveonettes will be releasing a compilation of b-sides and rarities this Fall, followed by a new studio album in early 2011. They will be at NXNE next week opening up for Iggy & The Stooges at Yonge-Dundas Square on the evening of the 19th.

Stereogum points the way to not one but two new Fanfarlo videos – though for the same song. “Fire Escape” gets the choose-your-own-adventure treatment with a ceiling cat version and a basement cat version.

Video: Fanfarlo – “Fire Escape” (dark version)”
Video: Fanfarlo – “Fire Escape” (happy version)”

The Times profiles Teenage Fanclub, whose new record Shadows is out today and streaming in its entirety at AOL.

Stream: Teenage Fanclub / Shadows

Clash checks in with The Futureheads at the start of their North American tour, which hits the Mod Club on Thursday night.

National Public Radio has a World Cafe session and The National Post an interview with The National. They kick off two nights at Massey Hall tonight.

Spinner talks to Danger Mouse of Broken Bells.

Exclaim interviews Sleigh Bells, in town at the Phoenix on July 20.

Handsome Furs have found themselves with a free night and will be playing Lee’s Palace on June 23; tickets are $16.50 in advance.

MP3: Handsome Fus – “Radio Kaliningrad”
MP3: Handsome Furs – “I’m Confused”

Los Angeles’ Autolux return with their first record in six years with Transmit Transit on August 3, and will follow that up with a tour that brings them to Lee’s Palace on August 24, tickets $17.50. The first MP3 from the new album is available to download PWYC-style – the track below is from their first record.

MP3: Autolux – “Here Comes Everybody”

The Horseshoe gets all Merge-y on August 28 when Lou Barlow and Wye Oak come to town. Both have new digital EPs out as of today – Barlow with the digital-only = Sentridoh III and Wye Oak with My Neighbour/My Creator. Pitchfork has details on the Barlow release and full tour dates, as well as an MP3.

MP3: Lou Barlow + The Missingmen – “Losercore”
MP3: Wye Oak – “Take It In”
Stream: Lou Barlow + The Missingmen / = Sentridoh III
Stream: Wye Oak / My Neighbour/My Creator

Jason CrepsThe first thing you notice about The New Pornographers’ latest album Together is the unison electric guitar and cello line that opens the first track, “Moves”. The second thing you notice is that you probably didn’t notice it at all. The band who first burst onto the scene at the turn of the century with the giddily live wire Mass Romantic transformed themselves from power-pop to orch-pop over the course of their five albums in the past decade that the strings and orchestral flourishes that permeate Together don’t seem at all out of place whereas they’d have had trouble finding the space to be heard amidst the cranked electric guitars and keyboards of their debut.

But sophisticated sonic accouterments aside, Together is still arguably their liveliest record since Electric Version, successfully recovering from the rather staid Challengers. Taken in the context of their career arc, that last record can now be regarded as more of a transitional record which tried to move away from the hepped-up pop of their earlier records and pulled a little too far in the other direction. Together strikes a much more comfortable balance, balancing the likes of “Your Hands (Together)”‘s amplified rock with the more stately pace of “Valkyrie In The Roller Disco”. Having noted those differences, it’s also important to note that which remains the same as on all other New Pornographer records – Carl Newman’s unerring ear for melody, Neko Case’s wonderful vocals and Dan Bejar’s requisite two wildcard songs though his contributions this time around are possibly his most straightforward compositions ever – still the highlights, but also a solid reminder that the world needs a new Destroyer record sooner rather than later.

Carl Newman has been quoted as saying that he knew that Challengers was going to be the band’s “backlash record”, even before it was out – maybe that’s why he made a record so worthy of backlash, so those of us disappointed wouldn’t have to work so hard to find reasons to feel that way. The good news is that the backlash has passed and with Together, The New Pornographers have made their rebound record.

The New Pornographers are currently on a cross-Canada tour – with the full band – and will be at the Sound Academy in Toronto for an all-ages show on June 15 with The Dodos and The Dutchess & The Duke. Tickets are $28 in advance but courtesy of Collective Concerts, I have two pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want some New Pornography” in the subject line and your full name in the body, and have that in to me before midnight, June 11. And yes, I will check through my spam filter for entries, just in case.

There’s interviews with Carl Newman at The Star Phoenix, The Edmonton Journal, The Gateway and Canada.com as well as a list of songs that influenced Together at The Calgary Herald.

MP3: The New Pornographers – “Your Hands (Together)”
Video: The New Pornographers – “The Crash Years”
Video: The New Pornographers – “Your Hands (Together)”
MySpace: The New Pornographers

Forest City Lovers have announced a full mostly Canadian tour (there’s one Chicago date) for the month of July to mark the June 29 release of their third album Carriage. After they return from out west, they’ll play a homecoming release show on August 12 at The Great Hall accompanied by Gentleman Reg and Carmen Elle, preceded by an August 10 in-store at Soundscapes. They’re also playing the LEAF celebrations at Wychwood Barns on June 11.

MP3: Forest City Lovers – “Light You Up”

The Toronto Star examines the low-key appeal of Shad, who is also featured by The Gauntlet, The Leader-Post and The Times-Colonist. He plays the Opera House on June 12; passes to the show are up for grabs.

The Fly has another video session with Born Ruffians; those guys will unplug for anyone with a video camera! There’s also interviews at The Seattle Times and Metro.

In town for two intimate nights at The Drake Underground this coming Friday and Saturday, Robyn Hitchcock has added an in-store at Sonic Boom on June 12 at 4PM to his itinerary. It goes without saying that this is going to be worth seeing.

Spinner has an Interface session with Two Door Cinema Club, who will follow up last month’s sold out gig at Wrongbar with a show at The Phoenix on October 25.

MP3: Two Door Cinema Club – “Something Good Can Work”

Paste catches up with Laura Marling.

Pitchfork talks to Aaron Dessner and Matt Berninger of The National. They open a two-night stand at Massey Hall tomorrow evening.

Though Bono’s bad back has forced Interpol to cancel their dates opening up for U2, they’ve still given their fans something to get excited about by announcing that their fourth album would be self-titled and out in mid-September and the replacement for departed bassist Carlos Dengler would be former Slint guitarist (and hired gun for too many acts to name) David Pajo.

Spinner, The Boot, Charlotte Observer and The Huffington Post talk to Tift Merritt about her new record See You On The Moon, an MP3 from which you can download over here.

Video: Tift Merritt – “Mixtape”

Pitchfork has details on the new Thermals record Personal Life, due out September 7.

@superchunkbandThough they’d insisted since touring for 2001’s Here’s To Shutting Up wrapped up that Superchunk weren’t finished but just taking a break, for most of this century the evidence was rather to the contrary. There was the attic-clearing compilation, video retrospective and series of live documents – not typically signs of an active band. Mac McCaughan became exceedingly prolific with Portastatic, Jon Wurster became full-time sticksman for The Mountain Goats and comedian and the label that McCaughan and Laura Ballance started back in 1989 started putting out some records that proved to be rather successful in certain circles.

Sporadic one-off live shows kept the flame alive but it wasn’t until last Spring when the Leaves In The Gutter EP arrived that the notion of Superchunk as an ongoing proposition begane to feel very real. And while it wasn’t an immediate precursor to a new full-length, Superchunk have finally put a date to the release of their ninth album and first in nine years – Majesty Shredding will be released on September 14 and the world will be a better place for it. Pitchfork has the salient details such as track listing and album art and a handful of Fall tour dates which do not, at present include anything north of the border. This is slightly less of an imperative for me as I finally got to see Superchunk live back at SxSW – a short set but one that completely affirmed that the ‘Chunk could still rock and pogo with the best of them – but I would still love to see them in a proper setting with a full set.

To be fair though, the band have put in more than their share of time on the road over the years and it’s not their fault i missed them all – if a visit to Toronto isn’t in the works then I will happily make do with playing the new album to death. And until that comes out, there’s this teaser video previewing some of the songs and showing scenes from the making of the record. And since you can only loop a one-minute video so many times before going batty, there’s last year’s comeback EP to enjoy. And oh yeah, a decade plus’ worth of albums and singles before that. Ohhhh Superchunk, welcome back.

MP3: Superchunk – “Misfits & Mistakes”
Stream: Superchunk / Leaves In The Gutter

The Toronto Star, eye and NOW prepare to welcome The National to town for their two shows at Massey Hall next week, June 8 and 9.

The Antlers, opening up both of those National shows, turn in a Black Cab Session. CMU also has an interview.

Spinner talks to Joe Pernice about the new Goodbye, Killer, due out June 15.

Clash talks to Robert Been of Black Rebel Motorcycle Club.

The new Christina Hendricks-powered video from Broken Bells is now available to watch. There’s an interview with James Mercer at The Boston Globe.

Video: Broken Bells – “The Ghost Inside”

Both The Dodos and Pixies are giving away live (digital) records on their websites in exchange for your email. The Dodos are at the Sound Academy on June 15 opening up for The New Pornographers; Pixies are not.

The Wall Street Journal and Huffington Post talk to Ben Bridwell and Liverpool Echo to Tyler Ramsey of Band Of Horses, who’ve just released a new video from Infinite Arms. They’re playing the Toronto Island Concert on June 19.

Video: Band Of Horses – “For Annabelle”

Carissa’s Weird, the Seattle band from whose ashes rose Band Of Horses, Grand Archives, Sera Cahoone amongst others, is releasing a retrospective collection entitled They Only Miss You When You Leave: Songs 1996-2003 on July 13.

MP3: Carissa’s Weird – “Die”

Phantogram return to town for a show at Wrongbar on July 8, tickets $14.50 in advance. You may wonder how good a two-piece electro-rock band could be live, and the answer is very good. Donewaiting is hosting a video session with the band, if you need more convincing.

MP3: Phantogram – “When I’m Small”
Video: Phantogram – “Mouthful Of Diamonds”

NYC Taper is sharing a live recording of The Depreciation Guild.

Four Tet will hit the road this Fall in support of new record There Is Love In You and stop in at the Mod Club on October 20.

The Music Slut asks eight questions of Mogwai’s Barry Burns. Their Burning/Special Moves live DVD and CD will be out on August 24.

Bandstand Busking invites The Twilight Sad to play one of their bandstand sessions. The Twilight Sad agree. The Washington Examiner and Nashville Scene also have interviews.

The Scenestar talks to Frightened Rabbit’s Scott Hutchison.

To all who asked – presale tickets for Belle & Sebastian’s October 12 show at Massey Hall will go on sale at 10AM next Wednesday, June 9 – password/instructions will be posted at www.collectiveconcerts.com. Prices range from $57.50 for premium floors/balcony to $47.50 for rear floors and centre gallery to $39.50 for side gallery, plus fees.

For Folk’s Sake and Gigwise interview Johnny Flynn about his new record Been Listening, out June 7.

Interview gets to know Peggy Sue. Their debut full-length Fossils & Other Phantoms came out this week and they’re at Sneaky Dee’s on June 13 to support.

Kate Nash has released a new video from My Best Friend Is You.

Video: Kate Nash – “Kiss That Grrrl”

The Line Of Best Fit talks to Richard Hawley, whose False Lights From The Land EP is out next week.

Kele talks to BBC about going solo with The Boxer, out June 21. He’s at the Mod Club on July 29.

The Phoenix has an extensive feature on Robyn Hitchcock, who has two intimate shows at the Drake Underground next week on June 11 and 12.

Paul McCartney – yeah, THAT guy – will be at the Air Canada Centre on August 8. Tickets will cost far too much yet still be easily rationalized.

And while pretty much obvious what with the radio silence all the way into June, it’s been made official that Virgin Festival Canada is taking 2010 off to regroup and hopefully come back next year.

Goldest EggIf there’s a rule that bands are supposed to mellow and get more introspective as they age, no one told Sunderland, England’s Futureheads. After briefly making Newcastle the next epicentre of Brit-rock with their 2004 self-titled debut – Maximo Park and Field Music would emerge from the same scene – the quartet would release two more records of their distinctive, harmony-laden jerky New Wave with less success than their debut, some complaining that the breakneck rhythms and energy that made The Futureheads so infectious were lacking on the follow-ups.

I can’t comment on the veracity of those comments, as I don’t think I heard either News & Tributes or This Is Not The World though I did see them on tour for the former in Summer of 2006, and they certainly had as much energy as I could have expected. And having made the acquaintance of their newest record The Chaos – out today – I think I can say that if the last couple records were indeed a bit soft, then this can be considered a return to form as sonically, it’s pretty much monolithic. The four-part harmonies, with their clipped phrasing and sharp accents, are still exceptionally tight and as far from a barber shop quartet as you can get and the guitars, if aptly described as “wiry” circa their debut are now akin to electrical transmission lines in girth. Coupled with songs that are maybe a notch or two less immediate than their earlier material but still eminently catchy and performed at a pace that only a bona fide speed freak would call anything but barrelling, The Chaos has all the manic energy promised by its title, encapsulated in compact 3-minute pop packages. Some more dynamics – or just an opportunity to catch one’s breath – over the course of the record would have been welcome, but there’ll be time enough for that when they’re older.

The Futureheads are kicking off a North American tour tonight in New York and will be rolling through Toronto on June 10 for date at the Mod Club. Advance tickets are $18.50 in advance but courtesy of Goldest Egg, i’ve got a pair of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want to have a Futurehead” in the subject line and your full name in the body, and get that in to me before midnight, June 7.

Futurehead guitarist Ross Millard talks to Spinner about some of the political themes that have worked their way into the new record.

MP3: The Futureheads – “Struck Dumb”
Video: The Futureheads – “Heartbeat Song”
Stream: The Futureheads / The Chaos
MySpace: The Futureheads

Drowned In Sound reports the new Manic Street Preachers record – the one Nicky Wire compared to Aerosmith’s Pump – will be entitled Postcards From A Young Man and be out in the UK on September 20. Was not expecting new MSP so soon; very happy.

Natasha Khan of Bat For Lashes talks to Billboard about some of the ideas she’s kicking around for album number three, including working with Beck.

aux.tv have premiered a new video from Vampire Weekend, who are at the Molson Amphitheatre on September 7.

Video: Vampire Weekend – “Holiday”

Flagpole and The Daily Record have interviews with The Hold Steady while NPR has the band in for a World Cafe session. There’s an MP3 now available to download from Heaven Is Whenever, which they’ll be performing at the Kool Haus on July 17.

MP3: The Hold Steady – “Hurricane J”

Chart talked to LCD Soundsystem’s James Murphy before their show in Toronto last week. The Vancouver Sun and The New York Times also have interviews.

The National’s Aaron Dessner talks to The Boston Herald. They’re at Massey Hall next week on June 8 and 9.

The Guardian chats with Grizzly Bear’s Ed Droste.

NYC Taper has a recording of Holly Miranda’s homecoming show in New York City last week available to share while Aux.tv has a video session recorded on the University of Toronto campus which includes a cover of Sparklehorse’s “Hundreds Of Sparrows”. If one good thing comes out of the passing of Mark Linkous, let it be more and more beautiful Sparklehorse covers. The Sydney Morning Herald also has an interview with Ms Miranda.

Uncensored has an extensive video interview with Nicole Atkins.

The Times-Union profiles Phantogram.

NPR talks to Josh Ritter and premieres the new video from So The World Runs Away.

Video: Josh Ritter – “The Curse”

Chart, The Windsor Star, Chart, The Colorado Springs Independent and NOW profile Broken Bells, in town at the Queen Elizabeth Theatre tomorrow night.

The Mountain Goats’ John Darnielle gets sombre with The Georgia Straight.

NPR is streaming Blitzen Trapper’s new album Destroyer Of The Void in advance of its release next week. Learn all the words and sing along when they play the Opera House on August 3.

Stream: Blitzen Trapper / Destroyer Of The Void

The Brother Kite’s Isolation has finally been granted a release date – look for the CD on September 14 and a vinyl edition to follow in November. Preview a few tracks at their website and count the days.

Before playing the Horseshoe that evening, tUnE-yArDs will do an in-store at Soundscpaes on June 13 at 3PM in the afternoon, perfect for those – like myself – who are curious but not ready to commit an evening to see her.

MP3: tUnE-yArDs – “Sunlight”
Video: tUnE-yArDs – “Real Live Flesh”

Fresh off opening up for Sharon Jones at the Sound Academy last week, UK funk-soul brothers The Heavy will play a free show at Harbourfront Centre on July 9 at 8PM as part of this year’s edition of Beats, Breaks & Culture.

MP3: The Heavy – “Colleen”

Langhorne Slim, who was great supporting Drive-By Truckers back in April has his own date at the Horseshoe on July 21, tickets $12.50 in advance.

MP3: Langhorne Slim – “I Love You But Goodbye”

It’s being billed as “Disco Lemonade”, but other appropriate names might be “You Got Your Sensitive Singer-Songwriter In My Dance Party”, “When Disparate Tours Collide”, “I Want The Venue No *I* Want The Venue” or just plain “WTF”. I speak of the show taking place at the Molson Amphitheatre on July 30, which will feature Keane, Robyn, Ingrid Michaelson, Kelis, Fran Healy, Dan Black and Far East Movement. Tickets range from $29.50 to $49.50, the show begins at 3:30PM – yes, that’s on a Friday – and it’s reasonably safe to say that everyone who goes to this show will see something they probably would never have gone to see otherwise. I actually saw this bill on Pollstar a couple weeks ago and assumed it was a typo. Silly me.

Video: Keane – “Clear Skies”
Video: Robyn – “With Every Heartbeat”
Video: Ingrid Michaelson – “The Way I Am”
Video: Kelis – “Milkshake”
Video: Travis – “Why Does It Always Rain On Me?”
Video: Dan Black – “Symphonies”
Video: Far East Movement – “Fetish”

Goth godfather Peter Murphy has a date at Lee’s Palace on August 10, tickets $29.50 in advance.

Video: Peter Murphy – “Cuts You Up”

Mice Parade have a date at the El Mocambo on September 29.