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Well, after three years, Blue Rodeo's big-ass musical weekend is
becoming something of a new tradition, now extending from sea to shining
sea as a national tour (with Great Big Sea becoming the headliner for the
Eastern dates). Sunday's show brought the good news that, for the first
time ever in Toronto, Saturday's show had been a complete sellout. Good on
ya, boys! This year, as ever, It was quite the decent day out, with lots of
especially cool music on the side stage. And Sunday's weather, while a
trifle hot, was superb. To the music, then: Mainstage: Heartbreak Hill moved from last year's sidestage to a slot
opening the mainstage bill this year, and it's a well-deserved break.
Between the women's rodeo-sweetheart voices (bassist Jennie Whitely and
guitarist Dottie Cormier) and the men's skillet-lickin' pickin' (brother
Dan Whitely on mandolin and Chris Quinn on banjo), it's an
inspirational-quality bluegrass/mountain music listening experience.
They're living proof that authenticity is a matter of the heart, not of
geography or age. "Travelin' The Highway Home" was solid, the a
capella "Willing To Try" impressed the crowd, and when HH asked people
to form a dancing train for "Lonesome Train," four people actually did.
They've even got a neat stage trick where Chris picks the banjo while Dan
frets the strings; they'll do whatever it takes to bring real bluegrass to
the casual roots listener. Good for them — and us.
Guster is two guitars — one acoustic, one electric — and
a hand percussionist. Good voices, lots of energy, pretty crafty. Falling
not too far from Moxy Fruvous tree, if a little more focused on affairs of
the heart (and body). Their new friends Great Big Sea were diggin' it from
the VIP area. So were two dozen or so crazed, junior-hippie-ish fans right
up at the lip of the stage, many of whom had schlepped up from
America to see these Boston boys do their thang. They're O.K.
Ivana Santilli was neatly costumed to answer the question, "How
tight can she wear a black tube top and, especially, a long, butt-huggin',
second-skin, sparkly red skirt before all heterosexual males in the crowd
begin drooling?" Sorry to be such a sexist shithead, but it was hard, even
for a post-post-modern-minded hetero male, to consider much besides the
booty when she turned around. When she faced the crowd, though, her
tremendous, soulful voice carried the day, and her trumpet playing was
solid. "Thing For You" and "My Lonely Lullabye" showed off her vocal range
and offered a cool dance-pop vibe — a refreshing change in the
oh-so-rootsy lineup. Hopefully, picnic hosts Blue Rodeo will open up the
format even more next year.
Skydiggers opened with their best song, the
Kennedy-assassination-centred "The Truth About Us," and kept up a
high-energy, great-song set from the get-go. "You've Got A Lot Of Nerve,"
"I Will Give You Everything," and "Nothing As Hot As A Slow-Burning Fire"
all hit the mark as usual; the 'Diggers are a lot like Blue Rodeo in that
respect, playing great versions of well-written songs with verve and grace.
Lead singer Andy Maize may be the weirdest stage dancer in the history of
Canadian rock — at one point hitching his pants up to mid-chest level
and bopping around in that condition. Much weird between-song patter from
him as well. Unique and very engaging.
Great Big Sea hit the stage and the entire crowd immediately rose
to their feet to jig their asses off for a very lengthy set. "Boston And
St. John's" was a standout ballad, and is perhaps the best song they've
ever written. They showcased other tunes from their new album, Turn,
and played the hits, as well as the full complement of traditional material
(gotta love that "General Taylor" singalong every year). Mostly, though,
it's up, up, up stuff. Keeps 'em jiggin', as a friend once commented. Blue Rodeo have started playing around with the set list from
their 1997/98 shows all across the country, and a good thing, too. Much of
the returning and/or new stuff "belongs" to Greg Keelor. His excellent,
up-all-night-arguing song, "5 A.M.," has re-entered the lineup with a
vengeance. They also previewed a gospel-ish new one from the next album,
probably called "When Will You Live Again?" Seems to be the tale of a
celebrated but past-it musician on a local scene, sinking downward in an
alcoholic spiral, but still seeking some sort of redemption. Key lines, as
best as they could be heard: "Sitting at your table/People stop to say
hi/You say fuck off and die/Just hitting your stride/Six pints into this
night/Are you running scared?/Maybe you just don't care/Waiting for
someone to shine a light" Strong, moving material, as usual. Damn, he's
a good songwriter, even if he was wearing a goofy, glittering silver cowboy
hat that Cuddy said he'd made "with a Bedazzle kit." Keelor also
kicked major-league ass with an inspired cover of "Close Up The Honky
Tonks." (Gram Parsons fans were, dare I say it, moved.) Also back in the
set is "You're Everywhere," the rockabilly rave-up that closed out
Casino. Cuddy debuted an excellent new slow song, too (unless I've forgotten my
Tremolo somehow), probably called "Here Come The Sad Nights Again,"
about being apart from a loved one while working (and "not getting far"),
sometime during the last days of summer, strolling around and seeing
couples in doorways, hearing gunshots before bed. Of course, BR and GBS
joined up onstage for the encores of "What Am I Doing Here?" (entertaining
a big bunch'a fans, ya dimwits!) and "The Old Black Rum," (Jig it up,
kids!) as well as a stunning a capella take on Keelor's "Motherless
Child" song. All in all, a great day of music and fun. Sidestage standouts:
— review by Howard Druckman
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ChartAttack | D.A.M.N |
M.I.N.E |
On the Road Again | Top
50 Charts | Features (c) 1998, Chart Magazine This site is a Humungous Production |
