Tag Archives: Music

Aaron’s Top Ten Concerts Of 2023

Stereo MCs at Shiiine On Weekender 2023

Publishing my annual best album list has gotten a wee bit complicated in the last few years what with my day job at the Polaris Music Prize and the fact that a record or two that are “in competition” always end up making the grade. So I’ve decided to pivot a wee bit and focus on the best shows I’ve been to this year instead. This list overlaps, but isn’t pulled exclusively from my Before They Die™ list (which, if you don’t know what I’m referring to, next time you see me at a show you’ll have to pull me aside for a detailed explanation).

Here are the best concerts I attended in 2023:

10) The Boo Radleys @ Reds, Shiiine On Weekender, Butlin’s Minehead, UK, November 17, 2023
Getting to see the Boos was one of the main reasons why we crossed a continent to attend a weird regional music festival in an off-season amusement park. They played the bulk of their biggest hits, including “Barney (… And Me),” “Lazarus,” “Wake Up Boo,” “Upon 9th and Fairchild” and “Wish I Was Skinny” and almost single-handedly justified our trip.

9) Lee Reed @ Bovine Sex Club, October 14, 2023
Opening for B.A. Johnston. This was absolutely amazing, uncompromised revolution rap from an old white guy from Hamilton. There were songs about eating landlords, fucking up cops, death to gentrification, and anti-capitalism. I was completely inspired by his set and remain inspired weeks later.

8) Nico Paulo @ The Baby G, July 31, 2023
Beautiful voice, beautiful songs. Paulo was great, even though she didn’t actually focus on her very charming self-titled album. In recent years I’ve low-key chased a certain sort of ’60s & 70s-style pop vocalist (think Carole King, Carpenters, Petula Clark, Lesley Gore, etc) and Paulo gets closer to capturing that elusive time period magic than most.

7) Stereo MCs @ Centre Stage, Shiiine On Weekender, Butlin’s Minehead, UK, November 19, 2023
This was an absolute throwdown. They sounded spectacular, they looked spectacular and the beats and the music felt just updated enough to feel seriously heavy, effectively executed and both contemporary and still retro. I was not expecting to come out of Shiiine On fest going, “Holy shit, the Stereo MCs…” and yet here we are.

6) Jairus Sharif @ Polaris Music Prize @ Massey Hall, September 19, 2023
This was one of my favourite actions of the Polaris year. We got Jairus to play his solo freak jazz in front of a bunch of VIPs before the Polaris Gala. It was 15 minutes of wondrous, deviant and challenging noise — exactly the sort of thing we’re meant to celebrate.

5) Inspiral Carpets @ Skyline Pavilion, Shiiine On Weekender, Butlin’s Minehead, UK, November 18, 2023
Besides the Boos, getting to see the Inspiral Carpets was one of the central pillars of our recent U.K. trip and it was entirely worth it. I almost cried like three times and the 1-2-3 of “She Comes In The Fall,” “This Is How It Feels” and “Two Worlds Collide” was beautiful and perfect. I was completely shocked that their closer was a theatrified “Saturn 5” complete with confetti canons, bouncing balls and a whole heap of flourish. But we won’t hold that against them.

4) The Hives @ Lee’s Palace, November 3, 2023
This was hot, sweaty, relentless, perfect rock ‘n’ roll with the band fucking giving it. It also helped that their new album — and in particular the “Rigor Mortis Radio” song — are absolutely deadly. This was probably the only show this year where I lined up for “doors open” instead of cruising in to the joint three minutes before set start and that commitment (and the very good sightline by the Lee’s guardrails overlooking the floor) made for an epic evening.

3) Dayglo Abortions @ Hard Luck Bar, May 20, 2023
The background for this show was that Murray “Cretin” Acton, the band leader for this 40+ year old pack of punk legends, was touring across Canada while he had colon cancer and was basically, “I could sit at home and be depressed, or go out and see all my friends…” It was a remarkable message with remarkable resolve. The first song the band played was some sort of noisy Fuck Cancer ad-lib, but beyond a few funny stage quips about it, the Dayglos played a straight-ahead greatest hits set and the audience treated it like a proper punk show… which is probably the best way to go about it. Cretin made multiple mentions of “community” and supporting the scene and one couldn’t help but feel swept up. The highlight was probably a very hardcore “Drugged And Driving,” which really landed. I was kinda shocked this Dayglos tour hasn’t received more attention in the straight world. Perhaps it’s because they’re punk and old and messy, but whatever, it was an incredibly inspiring, life-affirming, shake-your-fist-at-death set from punk rock masters.

2) BIG|BRAVE @ The Garrison, June 11, 2023
I’m not exactly sure how to describe BIG|BRAVE seeing how “screamy pagan folk doom” sounds a bit reductive for a trio of absolute players who take you on a journey through their dark, dizzying jazz metal world.

1) B.A. Johnston @ Bovine Sex Club, October 14, 2023
I’ve been waiting years to see B.A. and he did not disappoint. Johnston is an absolutely brilliant showman and possibly the best iteration of what a one-man band could be. His crowd work was superb — he poured Hawkins Cheezies bits down my throat, crawled through my legs at one point, played outside on top of a parked car at another point, served bar, sang on the bar, did about 15 costume changes (he just had 15 shirts of his on his body that he systematically took off) and generally ruled the entire evening. The “We’re All Going To Jail (Except Pete, He’s Gonna Die)” Van Halen song as set closer was perfect. This wasn’t just one of the best sets I saw this year, this was one of the best sets I’ve ever seen.

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Cadence Weapon Wins 2021 Polaris Music Prize

Cadence Weapon wins the 2021 Polaris Prize.

Aaron’s job at the Polaris Music Prize during this pandemic-messed year was, literally, “make sure we have a winner.”

So it was with great effort and great relief, that on Sept. 27 it was revealed that Cadence Weapon’s Parallel World album had won the 2021 Polaris Music Prize.

CBC Music revealed the winning album during a live video presentation which also featured a performance from 2020 Polaris winner, Backxwash.

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2021 Polaris Music Prize Long List Is Revealed

Cadence Weapon performs during the 2021 Polaris Long List reveal event.

The big job in the Risky Fuel household for the last month or so has been preparing the announcement of the 2021 Polaris Music Prize Long List.

This year Polaris got 40 past nominees and jurors to reveal the 40 albums that ended up making the 2021 Long List.

As an added bonus, multi-time nominee Cadence Weapon also performed as part of the video reveal event.

Watch it here:

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Nitzer Ebb Show Creates Dancing Machines

LIVE: Nitzer Ebb
December 1, 2009
Mod Club
Toronto, Ontario

Pioneering industrial dance group Nitzer Ebb’s connection to Toronto runs deeper than you’d expect.

The reformed Chelmsford, England band’s music was the anchor for no less than a half dozen major alternative/electro club nights in this city about 15 years ago, and that scene’s survivors — the hardy misfits who still wear black, or shave the sides of their heads, or aren’t afraid to go out on a Tuesday night — were witness to a Terminator-efficient performance that was vital, vicious and without any taint of retro kitsch.

Local dance rockers OPOPO had their work cut out for them as openers. Perhaps it was because they felt too much like The Shamen or Ned’s Automic Dustbin — comparative softies from back in the day that Ebb fans would’ve defined themselves against — but the arms-crossed, shaved-headed crowd mostly no-sold the band’s high energy set.

Credit the band for continuing to barrel through, though. Neither did it hurt when vocalist/guitarist Bryan Sutherland put his hands over his eyes to shield them from the stage lights, looked out into the crowd and assured, “Hi, we’re OPOPO. We’ve got a couple songs left” mid-song. It was self-aware and self-deprecating enough that it at least softened the audience to dish polite applause for the remainder of their stage time.

The Mod Club crowd was still a little cold when Douglas McCarthy, Bon Harris and live member Jason Payne bounded onto the stage, but that would change in very short order.

During the pulsing take on the Belief album’s “Hearts & Minds” the character of this show really began to show itself. Slowly but surely, bodies started moving as McCarthy flung himself across the stage in his suit and tie like a sinister Max Headroom while Harris and Payne pounded away at dueling drum kits.

Showtime‘s underground classic “Lightning Man” further elevated things. Hundreds of raised fists matched McCarthy’s shouts of “Baby! Come to daddy!” as a strange sort of hive mentality broke out on the Mod Club floor. It would be too gag-y and ravespeak to say there was a sense of “unity,” but as the band pushed on through “Blood Money” and “Godhead” the audience felt transformed.

No longer was it about the individual fan as much as it was about the interlocking mechanical parts that were the bodies that were moving, punching and stomping along to a fascinating machine language. If this was a collective synesthesia, the participants weren’t seeing colours, but instead phantasmal hammer strikes, gear shifts and piston firings as the band pressed on.

By the time the Ebb unveiled That Total Age‘s “Murderous,” McCarthy had lost the jacket, skewed the tie and the industrio-trance was in full effect.

There had been very little in the way of stage banter up ’til that point and there would be very little as the band continued. Besides, McCarthy was already saying all the important things he wanted to say in his songs — which mostly involved commands for people to get on their knees.

Nobody actually did drop down, but there were a few who were surely close during the surprisingly anthemic “Control, I’m Here” and the not-as-bad-as-I-remembered “Ascend.”

The only logical choice to close their set was dark club banger “Join In The Chant” and, sure enough, pretty much everyone did in fact join in the chant. Somewhere in there, McCarthy lost his shirt and that mechanical trance broke down into chaotic flailing, those machine parts oscillating so wildly that overheating was inevitable.

The Ebb’s short encore concluded with McCarthy doing his best Dave Gahan for an arms-wide-open take on “I Give To You.” Having made so many demands of all the little machines all night, it was the perfect gesture to give something back. It was a decidedly human way to end the show, but it felt a bit like a warning, too, and left little doubt that Nitzer Ebb would be back.

This story was originally published December 2, 2009 via Chart Communications.

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Sia Faces The Music For TIME

Sia’s Music

International pop star Sia made a movie called Music that was, in theory, about autistic representation.

When Sarah reviewed the film for TIME her chief concerns where that the film could potentially be “patronizing, exploitive and genuinely harmful.” What she found out was that, in addition to arguably being many of those things, it was also simply bad art.

To read Sarah’s review go here.

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