Alan Doyle

The Jube, aka the Northern Alberta Jubilee Auditorium, was dancing, swaying, singing and clapping to the music of The East Pointers and Alan Doyle & the Beautiful Beautiful Band. It would be fair to say there was more than one Newfie in the crowd. Actually, more than one person with allegiances to the East Coast of Canada, including a few who have loose connections to the East, including me. I lived in Labrador for a few years and shared a house in Edmonton with a bunch of Newfies. Newfie or not, the crowd loved the East Coast aesthetics.

Photo by Joel Weatherly https://jweatherly.ca

The East Pointers, who hail from PEI, opened the show with a lively set that immediately had the crowd engaged. The East Pointers initially consisted of guitarist Jake Charron, banjoist Koady Chaisson (d. 2022), and fiddler Tim Chaisson and won the Juno Award for Traditional Roots Album of the Year for their album Secret Victory at the Juno Awards of 2017. These two multi-instrumental entertainers played their way into my heart, and I am sure that could be said of many in the sold-out show.

Unfortunately, I didn’t get a set list, so I only got the names of a few songs from their five-album catalogue. “Misty Morning” is a rousing toe-tapper that is easy to fall in love with. “Two Weeks” is a story that many East Coasters/Albertans could relate to, moving west for jobs in the oilfield with two weeks on and two weeks off. Their set felt short to me because we were just getting warmed up, which means they were doing a good job as a warm-up band. However, before they left, I fell in love with their songs and one that resonated strongly with me. “Anniversary” is a song about recovery. Recovery from addiction to substances or addictive behaviour. People who are in recovery celebrate their clean days every year, our anniversaries. Mine is May 11, 36 years clean and sober. That song got me. Well done, lads. I really ought to have bought their CD just for that one song. Maybe a gift to myself for my 37th anniversary.

Alan Doyle is a natural entertainer. From the moment he came on stage to the moment he stepped off it, he entertained us. He regaled us with songs & lyrics that spoke to our hearts and with stories woven into those songs. He engaged in banter with the crowd and wove it into his set, making me feel like we were in the backyard, with some burgers on the BBQ, a couple of cold drinks in a cooler, and friends, both old and new, gathered together, singing songs and telling stories. Stories where the waves got higher, and the fish got longer every telling.

Alan Doyle is multi-talented. I first knew him as a member of the band Great Big Sea. He has also acted on television and in movies and has authored a book. On stage, Alan is at ease, even when the energy of his set is turned up to 11. The songs flow naturally, and he keeps the audience in the palm of his hand. He played a good overview of this career in song, including some from Great Big Sea, Alan’s solo albums, and a couple of really good covers. “Nancy” is a great song that easily had us standing and clapping along. “Already Dancing” is a great story song that I have to remember, not just to sing, but to live by example. “The Crawl” had me up singing and swaying, which doesn’t happen easily for me with a cane and a rusty windpipe. “The Crawl” is a cover of a song by Spirit of the West, a great band hailing from the West Coast of Canada. I have been privileged to hear Spirit of the West live several times, and I have been a fan of their music since 1985. Their music, and Alan Doyle‘s, share an affinity for Celtic overtones, rollicking songs, and plenty of beer.

Alan Doyle is backed by top-notch musicians in Alan Doyle & the Beautiful Beautiful Band. Not to pick favourites, they are all damn good, but we all cheer loudest for the home team. The fiddle in Doyle’s band is an Albertan, Kendel Carson. Another highlight for me, pun intended, was the stage lighting. It was a wonderful use of modern lights that can switch from a subdued wash of colour to a piercing spot that could burn out an eyeball. The sound techs did an admirable job as well; the Jube has great acoustics, which was used to great effect. The sound was clear and at a good volume, so I didn’t need ear protection.

Bottom line, I thoroughly enjoyed the show from the opening notes of the East Pointers to the last note of Alan Doyle & the Beautiful Beautiful Band’s encore.

Album Review: Alice Phoebe Lou – Paper Castles

On her second full-length release, fire dancer turned singer-songwriter Alice Phoebe Lou seamlessly combines cool jazz vibes and light indie tones to create a laidback yet intriguing album.

Across the entirety of Paper Castles, South African born Berlin-based Alice Phoebe Lou’s captivating vocals soar over atmospheric and lushly textured instrumentals. With evident influence from relaxed, lounge-friendly jazz, the steady percussion and electronic piano accompaniment on tracks like “New Song” mingle fluidly with Alice Phoebe Lou’s voice and flatly intonated guitars. While jazz is a dominating force for Paper Castle‘s sound, it also blends with distinctly indie ideals. Many tracks on Paper Castles veer towards the jangly guitars and softly textured synthesizers of bedroom pop. On “Galaxies” a muted guitar blends with synth textures to create a spacious indie track that is reminiscent of other bands such as Lowly.

Lyrically, Paper Castles maintains poignancy by relating tales of nostalgia, femininity, and maturing. On the previously released single “Something Holy” Alice Phoebe Lou relays her moment of overcoming “past traumas with sex, with men” and her more in-depth understanding of intimacy with one of the album’s most haunting mantras “It hasn’t been so easy being lonely.

Overall, the Noah Georgeson-produced Paper Castles is a cohesive, well-textured album that nicely showcases Alice Phoebe Lou’s vocal capabilities and writing skills. Its calming combination of jazz and indie conveys a sense of ataraxia while still maintaining enough momentum to keep one interested.

4/5

-Joel Weatherly

Originally written for The Spill Magazine

Live Review: Yukon Blonde / The Zolas

On the evenings of Friday, November 30 and Saturday, December 1 we had the pleasure of listening to Yukon Blonde and The Zolas do back to back shows at The Station on Jasper. This repeat was a first for both of us although we had seen both bands previously, this was the sixth time for Yukon Blonde and the seventh for The Zolas. Listening to two groups do back to back shows presented us with an opportunity to make some observations on band dynamics, set lists, crowd demographics and dynamics, how the music and lights were mixed and the overall vibe from each show.

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The Zolas hail from the Vancouver area but make numerous tours that include Edmonton, where it is evident that they have a lot of fans. Currently, the core of The Zolas consists of Zach Gray on guitar and vocals, Dwight Abell on bass, and Cody Hiles on drums with a touring pianist rounding out their sound.

Over the years I have heard The Zolas grow and spread their playing into new and exciting sounds while they have also developed and matured as a cohesive unit, they sound better with each listening. They are more confident and they are using new sounds and arrangements that make their older songs sound fresh. They have always been a band that had a good on stage presence and that did not change with these two shows. Zach is good at banter and engaging the crowd and the band as a unit kept the energy moving forward with a minimum of dead spots such as guitar tunings.

The Zolas are adding more nuances and textures to their music through the use of synthesisers and trigger pads. This was most notable for Zach as he played both synthesiser and guitar in which he used the headstock of his guitar to tap trigger pads. The band generated good energy with the crowd and were able to sustain that energy through their set, although I think it was a better crowd on Friday than Saturday and the crowd energy was different. The Zolas traditionally close with Zach taking his mic stand, guitar and a small synth into the middle of the crowd on the floor and play Escape Artist. Zach asks the crowd to turn on their phone flashlights and it creates a cool dynamic.

Over the years I have seen this done several times and the audience reaction isn’t always the same. On Friday night it was good, not as good as a previous show at a different venue and a different crowd, but it was darn good. Saturday night, on the other hand, had a very different crowd that didn’t engage as well from my perspective.fullsizeoutput_d6dfAs always, The Zolas meet and greet with the crowd after the show and are good at it. We didn’t get a setlist from the Zolas this time around, but we got a selfie with Zach which is a tradition he does with us. My appreciation for this band goes up every time I see them live or listen to them at home. They are a highlight band for me. My favourite song is Frieda On The Mountain:
“Freida on the mountain
What do you see on the other side?
Freida on the mountain
What do you see on the other side?”
I’m sure that my family and friends will understand why it is a favourite.

Yukon Blonde is a band that started in Kelowna but work out of Vancouver nowadays. The band is made up of Jeff Innes on vocals and guitar, Brandon Scott on guitar and vocals, Graham Jones on drums and vocals, James Younger on bass and vocals, and Rebecca Gray on keyboards, synths, and vocals.fullsizeoutput_d6f5

Wikipedia classify them as an indie rock band although I can hear the influence of psych, disco, 80’s easy listening, and straight ahead power rock. They are a tight band that can are comfortable playing with a variety of sounds. Having the luxury of 3 band mates that can sing lead, all 5 of them singing backing vocals, 3 of them that play synth and two lead/rhythm guitar players, they can spread the sound around and add layers and textures that compliment each other and build a big sound.

The highlight for me of both shows by Yukon Blonde was their long jams on the song Radio. I didn’t time it because I was so mesmerised listening to it, but it went around, up, over and then back for more than the traditional 3 minutes that they would get on a radio edit. It then it segued into Saturday Night which was another high energy stretched out anthem. The closing song both nights was a tribute to George Harrison and the Travelling Wilburys, in which both bands took the stage, and they did a rendition of Handle With Care.

 

fullsizeoutput_d6e6The Station on Jasper is a good venue, the staff are polite and courteous and the sound is usually pretty good. They have a decent menu, we had the nachos and they were tasty. Like I said earlier, the crowds were very different for the two shows. Friday night had a lot of happy people that were there because they wanted to hear the music. Saturday felt like it had a lot more intoxicated people who came to the venue to get drunk and either socialise through the whole show or spend the entire night texting. Very different crowds that I am sure the bands could sense as much as we did.fullsizeoutput_d289

The sound was muddy, very bass heavy and very loud on Friday night, which was a shame because so many people were there to hear good music. Saturday night had a better mix although it was still very, very loud. At least the bass wasn’t as bad as Friday night, it was still too much, but it was better. Heavy bass is a trend that we have noticed at a lot of shows, so it isn’t confined to one venue. The excessive volume is also at epidemic proportions, and it’s everywhere even in stores.

Conclusion: I thoroughly enjoyed both bands both night and would gladly return to The Station on Jasper.

-Norman Weatherly

Photos by Joel Weatherly. More Photos at Joel Weatherly Photography.

Yukon Blonde setlists: Friday, Saturday

Tango With Lions – The Light Review

Cover Art by Bob Studio, Photo by Despoina Spyrou

Tango With Lions

The Light

Inner Ear Records

The Light marks Tango With Lions’ first release in five years. The highly anticipated follow-up to A Long Walk, The Light is a nine-song album packed with introspective lyrics, haunting vocals, and intricate instrumentals.

Musically, The Light is a bit of a varied album. Early in the album things sound very indie. Singer-Songwriter Katerina Papachristou’s airy dreamy vocals take centre stage as a distant piano and rattling percussion whirl throughout tracks like “Back to One.” Throughout most of the album, Papachristou’s vocals carry hints of Metric’s Emily Haines. Stylistically, things do shift during the course of The Light‘s 34 minutes as by the time you reach songs such as “Last Thrill” or “What You’ve Become” the backing instrumentals garner a sound with more hints of folk rock than indie pop.

Within “The Go Betweens,” one of the most intimate tracks on the album, are some of the most experimental sounds of The Light as buzzing synths add texture to an otherwise sparse and quiet musical landscape, this isolation allows for focus to direct towards Papachristou’s ethereal vocals.

Photo credit by Eftychia Vlachou

Throughout the entirety of The Light, themes of light and dark, optimism and nihilism are explored in-depth as Papachristou explores her own emotions and experiences. While introspective songs can often feel excessively maudlin, Tango With Lions manages to examine poignant ideas without becoming overly melancholy proving that a balance can be achieved between upbeat songs and philosophical subjects.

From its beginning to its end, The Light is an engaging and catchy listen that nicely display the talents of one of Greece’s biggest English-speaking bands while still showing that they have room to grow and experiment.

7.5/10

-Joel Weatherly