Thursday, August 29, 2019

Salmon Arm Roots and Blues 2019 Review

Another year of the Salmon Arm Rootsand Blues Festival, about my 12th to date I think. It's always a lot of fun and always has tonnes of great music.

My experience began about 3:30 PM on Saturday. The first concert of the day was Ostwelve, a young First Nations rapper from the coast. His set was quite simple, just rapping over files he had saved on a laptop. His work is a fascinating look at how hip-hop, a genre always known for highlighting issues of social injustice, has been adopted by First Nations youth to address reconciliation and poverty in the First Nations community. He had a full dance floor going in front of the stage by the time he was done.



Luke Wallace was up next at the Shade Stage. Wallace is a hard-touring musician rooted in the protest folk of the 60s, with a modern indy rock sensibility to the music. Wallace played a fun, high energy set of folk rock with a lot of social commentary, and a lot of really catchy tunes. He had a lot of great stories about living in the Gulf Islands and a few energetic singalongs took place.



I took in a few songs from Jack Semple at the Barn Stage, who played a rock-based style of blues, complete with guitar heroics and long solos. Then off to the Main Stage for the night's headliners.

Ireland's Dervish have more than 30 years together as a band, and their live show certainly shows their experience. Dervish play traditional Celtic and Irish folk. The band is made up of a guitar, mandolin, flute, hornpipe, accordion plus harmonies and percussion. The band mixed high energy instrumentals with spirited vocal based songs. This band is fun and extremely musically tight, and a rare time to hear authentic Irish music live here in Canada.

A legend in Canadian blues, Sue Foley, lit up the stage next. Foley is a stellar blues guitarist, with a no-nonsense approach to playing. She's a consummate musician, soloing effortlessly and flawlessly, treating the guitar as an extension of herself. As just a trio, her band had a full sound. Foley also played some instrumental flamenco style acoustic guitar during her set. Foley has a classic blues growler voice and a driving, gritty blues sound. Her hour long set went by in a blink of an eye.

Finishing up the Main Stage line up for Saturday was Jamaica's Third World, a legendary reggae band active since the early 70s. This band played a laid back style of reggae, steeped in the long history of the genre. They played a mix of classic hits along with quite a bit of new material from their latest album. The guitarist was amazingly versatile, playing electric and acoustic guitar, along with an instrumental set with an electric cello, as well as singing. There was a nice set of dancehall rapping too.

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Sunday morning brought two workshops at the Barn Stage. First, a Celtic set with Dervish hosting the session, along with BC's Quinn and Qristina Bachand and Toronto's Anne Lindsay. The workshops always have the most interesting bits of music, with musicians playing off of each other, each one not knowing what they other has planned. The Bachands, a brother/sister duo of guitar and fiddle, played some French Canadian folk, which played seamlessly into Dervish's Celtic folk. Anne Lindsay's fiddle playing, of course, worked well with Dervish's style, and she also played some fast bluegrass styles.

Workshop #2 saw the Birds of Chicago lead a singer/songwriter showcase with Alberta's John Wort Hannam, Sue Foley and Toronto's Danny Michel. Overall, this was mostly individual songs with an occasional jump in from other musicians. Sue Foley's two songs were joined in by Steve Dawson, a stalwart guitarist who was playing with Birds of Chicago, who played acoustic lap steel, playing off of Foley's acoustic guitar. John Wort Hannam's three songs were earnest, sparce and lyrically deep, earning him two standing ovations.

Off to the Blues Stage for Toronto's Al Lerman. The Blues Stage was especially packed, with little space to settle into in the crowd. Lerman played the guitar and blues harp. Lerman's style borrowed heavily from the Southern US style, with gritty guitar and hard-loving, hard-working themes.

Steve Pineo, from Calgary, brought a four piece blues band to the stage next. His style was a basic, no-nonsense style of blues. Nothing fancy, just straight ahead classic blues with classic lyric themes, refreshing in a time where artists try to do a little too much with their music. This was a great set.

To the Shade Stage for a solo set with fiddler Anne Lindsay. Lindsay played a wide variety of fiddle tunes and sang, the music ranged from country to bluegrass to Celtic. She also played a couple of tracks on piano, including a Gershwin tune. She also had an instrument called a nyckelharpa, a traditional Swedish folk instrument sort of like a fiddle. It had four strings, along with several sympathetic strings, and was held like a guitar, but played with a bow. The notes were changed by pressing buttons on the neck of the instrument, which caused a clacking sound when they were pushed. She played two songs on the nyckelharpa, a unique experience to hear for sure.



Greg Blake returned this year as a member of a different band, Tracy Lynn and the Savage Hearts, a trio made of Blake on guitar, Tracy Lynn on guitar and Annie Savage on fiddle. They played a set of traditional country, American folk and bluegrass. Blake was just as good as he was last year, and the whole band were very tight, playing a nice mix of originals and covers.

The Main Stage's entertainment for Sunday was hosted by legendary BC folk musician Valdy, who, surprisingly, was attending his very first Roots and Blues festival. First up were one of the big international bands at this year's festival, The Garifuna Collective from Belize. Canadian Danny Michel invited this band to the Festival, and he had recorded an album with them a couple of year ago. Michel started with a few of his original songs, then slowly brought out the Collective during his set. By the fifth song, the entire band were on stage, which was made up of two guitars, three drummers and two vocalists. They played a ramshackle style of rock and roll combined with traditional Central African folk, with Michel providing extra guitar work. They were engaging and incredibly high energy. Another great opportunity to hear a style of music usually not heard in Canada.

Birds of Chicago are a cross-border collaboration between Canada's Allison Russell, former member of Po' Girl and current member of Our Native Daughters, and her husband, American JT Nero. Their style is Americana, roots and folk, with Russell on banjo, clarinet and saxophone, and Nero on guitar, and both on vocals. They also brought along Vancouver's guitar legend Steve Dawson, who played guitar and lap steel. Their music was earnest, soulful and reflective and they put in a solid set of folk and roots.

Ending the festival was Irish/Canadian Irish Mythen, who was a standout at 2017's Roots and Blues Festival. Irish was immediately engaging, cracking jokes and interacting with the crowd. She told stories inbetween her high emotion folk rock, and called up many guest stars throughout her set, from American soul band The Hamiltones, fiddler Anne Lindsay, Luke Wallace and Valdy. She had the Hamiltones play an original track, along with backing her up on one of her songs. Lindsay played about three songs, all with stellar fiddle solos. They encored with a huge singalong, doing a cover of Scott Wood's “Pass it Along”. She was a great entertainer and excellent choice for finishing off a great 2019 festival.

Tuesday, August 13, 2019

Best of 2018 #4: Freak Dream - Into the Sun (Artoffact)

Vancouver's Freak Dream are just a few years old, but have already established hefty credentials in the experimental rock world. Frontman Elliot Langford has already clocked time with many great Vancouver bands, including The SSRIs, The Rebel Spell, Spring and Big Evil. Into the Sun is their first for Artoffact Records, another Canadian label that has been filling their roster with Canadian and international talent. The album is a indescribable mess of post-punk, electro-punk, synth-pop, disco and noise. Some songs verge into almost melodic 80s pop fare, some are straight up electro-noise. "8 Billion" especially is a good display of their range, starting from a brutal hardcore punk riff, into a death metal scream fest, then ending with pummeling break-beats. This is one of the most innovative bands I heard in 2018.

Monday, August 12, 2019

Best of 2018 - #5: Peach Kelli Pop - Gentle Leader (Mint)

Peach Kelli Pop are a wonderful 60-style garage rock band centred around former White Wires drummer Allie Hanlon. The band is mainly her with touring musicians. Formed around 2010, they put out three EPs (2 on the California based label Burger), before putting out an EP single, Which Witch, on Mint, then following up a month later with Gentle Leader. Peach Kelli Pop are kind of like a mix between Canadian indiepop legends cub, The Supremes and The Muffs: soulful, gruff and cute. The almost only clocks in around 30 minutes, but you don't need much more of what they give you. Fantastic pick up for Mint, and another in a long line of fantastic bands they've discovered.

Sunday, August 4, 2019

Best of 2018: #6 - Alpha Strategy - The Gurgler (Antena Kryzku)

It's been a long time since we've seen a noise rock band approach the genre with the wild disregard that the Jesus Lizard used to. Toronto's Alpha Strategy seem worthy enough to take up the mantle. Lead singer Rory Hinchley has David Yow's demented, howling scream down pat, and the band takes noise to the extreme, brings it back to quiet, then back to the extreme again. Add in the noise rock pedigree of Steve Albini in engineering the record, and you've got one of the best noise recordings of 2018.