BeatRoute Magazine BC Edition June 2019

beatroute

BeatRoute Magazine is a monthly arts and entertainment paper with a predominant focus on music – local, independent or otherwise. The paper started in June 2004 and continues to provide a healthy dose of perversity while exercising rock ‘n’ roll ethics. Currently BeatRoute’s AB edition is distributed in Calgary, Edmonton (by S*A*R*G*E), Banff and Canmore. The BC edition is distributed in Vancouver, Victoria and Nanaimo. BeatRoute (AB) Mission PO 23045 Calgary, AB T2S 3A8 E. editor@beatroute.ca BeatRoute (BC) #202 – 2405 E Hastings Vancouver, BC V5K 1Y8 P. 778-888-1120

Festival Season Starts Now!

JUNE 2019

FREE

Anderson .Paak

From couch surfing to crowd surfing

in just 10 years


s

TO HELP

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JOHNFLUEVOGSHOESGRANVILLEST··WATERST··FLUEVOGCOM


Contents

MorMor, April 30 at the Biltmore

Cabaret. Read our review of this show

and more online at beatroute.ca

JEREZ CHALLENGER

Up Front

4

6

9

11

The Guide

Japanese Breakfast serves

up an indie-pop dream

at Calgary’s Sled Island

Festival

Fashion

18 Waits puts bands at the

top of their brand with rock

and roll apparel

That’s Dope

Softgel capsules make for

convenient anxiety and

headache relief

Drink

Near-beers are here to stay.

The rundown of Canada’s

best non-alcoholic beers

Music

13

20

22

28

31

Concert Previews

Yungblud, Foxwarren,

Claypool-Lennon Delirium,

Sebadoh

Sled Island Festival

Calgary’s discovery indie

music festival slides into

town

The Playlist

All the singles we can’t stop

listening to this month

Breakout Festival

We talk to rapper Saweetie,

anticipating Canada’s

biggest hip-hop festival this

month in Vancouver

Album Reviews

Carly Rae Jepsen, Tyler

The Creator, Hot Chip, Baroness,

Richard Reed Parry

and more

JUNE 2019

Cover Story

26

Festival Season Starts Now!

Anderson .Paak

From couch surfing to crowd surfing

in just 10 years

Anderson .Paak

From couch surfing to

crowd surfing, the dynamic

hip-hop/soul artist has accomplished

all of his goals

FREE

Movies|TV

40

41

42

Travel

38

Jim Jarmusch

A look back at the art-house

director’s relationship with music

ahead of The Dead Don’t Die

John & Yoko:

Above Us Only Sky

Netflix documentary shines a

spotlight on one of history’s

greatest musical connections

Rocketman

Elton John biopic flies high as

one of the best movies of the

summer

Destination: Festival D’éte

de Québec

Get ready for one of the longest-running

music festivals in

North America on Quebec City’s

Plains of Abraham

YVR

43

44

47

48

Craft Beer Week

VCBW The festival celebrates

10-year milestone with 300+

beers, ciders and bands!

Local Shows

Andrew Phelan, Corey Hart,

Chromeo, Lucinda Williams

Jazz Festival

Herbie Hancock, The Roots and

the Wu-Tang Clan to headline

annual fest

YVR Agenda

All the best events happening

around the city this month

Plus, This Month in Theatre

JUNE 2019 BEATROUTE 3


The Guide

JUNE

Japanese

Editor/Publisher

Michael Hollett

Senior Editor/

Western Canada

Glenn Alderson

Creative Director

Troy Beyer

Editorial Coordinators

Jordan Yeager

Sebastian Buzzalino

JACKIE LEE YOUNG

Breakfast

delivers her

lo-fi pop feast

to Sled Island

Wednesday, June 19

The #1 Legion (Calgary)

Sled Island Music Festival

Japanese Breakfast is the artistic

alias of Michelle Zauner, serving up

delicious, artisanal compositions and

arrangements that are as relaxing on

the surface as they are emotional in

content, leaving listeners satiated, but

not overfilled.

Zauner got her start in music as a

15-year-old, touring with bands like

Little Big League and Post Post before

moving to Oregon to care for her sick

mother. When her mother passed away,

Zauner was faced with an existential

shift in perspective as well as a

life-changing shift in career.

It was in the wake of grief that she

wrote and recorded Psychopomp, her first

project as Japanese Breakfast. It was more

an act of self-care than anything, and no one

was more surprised than Zauner when there

was an audience for this personal project. Her

follow-up release, Soft Sounds from Another

Planet, came out just over a year later; there’s

no time to slow down when you’re aware of

your own mortality.

Zauner delivers assertive, yet often plaintive

vocal performances, accompanied by

tranquil guitar chords and a no-nonsense

rhythm section. Where instrumentation

is subtle, her lyricism is heavy-handed,

grappling with introspective topics like

loss, mourning and the inevitable passage

of time.

Despite its morose subject matter, Japanese

Breakfast will have you dancing. This is a dish

that is best served in the intimate confines of

oversized headphones on a day-dreamy afternoon,

or on the drive home from Sunday brunch

with your best mates.

By TORY ROSSO

4 BEATROUTE JUNE 2019

3More

Sled Island

Fest coverage,

page 20

Contributing

Writers/ Coordinators

Maryam Azizli • Sarah Bauer

Ben Boddez • Sebastian Buzzalino

Lauren Donnelly • Karina Espinosa

Kathryn Helmore • Safiya Hopfe

Kodi Hutchinson • Roban Kerr

Brendan Lee • Christine Leonard

Joey Lopez • Trevor Morelli

Pat Mullen • Johnny Papan

Tory Rosso • Judah Schulte

Yasmine Shemesh • Austin Taylor

Graeme Wiggins • Jordan Yeager

Contributing Photographers

& Illustrators

Kelli Anne • Jerez Challenger

Bailey Clarke • Erin Cooney

Jesse DeFlorio • Itai Erdal

Jimmy Fontaine • Chris Graham

Chris Graham • Vanessa Heins

Matilda Hill Jenkins

Marisa Holmes • Nolan Knight

Jackie Lee Young • Ryan Mclemore

John Packman • Darrole Palmer

Justin Pizzoferrato • Tristan

Shouldice

Advertising Inquiries

Glenn Alderson

glenn@beatroute.ca

778-888-1120

Distribution

BeatRoute is distributed in

Vancouver, Victoria, Calgary,

Edmonton, Winnipeg and

Saskatoon

Contact us

2405 East Hastings St.

Vancouver, BC

V5K 1Y8

e-mail: editor@beatroute.ca


@beatrouteBC


@beatroutemedia


beatrouteBC

beatroute.ca


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Fashion

Legendary Lines

A

rock and roll clothing brand with

music on their minds, 18 Waits was

inspired by a late night stroll through

the rainy streets of New York while

founder and designer Dan Torjman wandered

the Lower East Side listening to —

you guessed it — Tom Waits.

“It was a light bulb moment,” says Torjman.

“Eighteen has always been my lucky

number. 18 Waits also sounds good, looks

18 Waits graphic tees bring Keith, Bob and Willie to amplify your wardrobe By KATHRYN HELMORE

good and is an homage to Tom.”

With a dog named Alice Cooper, Torjman

has been a music junkie his whole

life. A Canadian company with national

distribution, 18 Waits outfits us to keep

rock and roll amplified on the forefront of

our daily lives.

Proving fashion is the extension of

identity and life-long addictions, their

summer t-shirt collection features some of

Torjman’s favourite musical icons.

Simple cotton acts as a canvas for artistic

renderings of musical monarchs Willie

Nelson, Keith Richards and Bob Dylan.

The brand is also teaming up with Toronto

artist Hieram on June 20 to celebrate

all things David Bowie with a gallery-style

show at their flagship store featuring eight

raw denim jackets, each with iconic Bowie

imagery painted on the back.

“Not only are Nelson, Richards, Dylan

and Bowie musically great,” says Torjman.

“They paved their own way. They said ‘fuck

it’ and didn’t hesitate or look back. Regardless

of the fact that one is a spaceman and

one a grass smoking Texan, they followed

the same ethos.”

You can find 18 Waits at Brooklyn Clothing in

Vancouver (418 Davie St.) and Calgary (1211

Kensington Rd. NW) and online at 18waits.com

6 BEATROUTE JUNE 2019


Meet the Tempo Family

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That’s Dope

THIS MONTH

IN CANNABIS NEWS

AND VIEWS

P

opping a softgel

capsule for pain relief

is not unusual for

anyone who has ever

had a headache.

Now getting a daily

dose of cannabis

is as convenient as taking

your vitamins.

If you want the healing properties

of cannabidiol (CBD)

but don’t want the smell and

spectacle of smoke, the mess

of oils or the unpredictability of

edibles, softgel cannabis capsules

can be a good option.

CBD is a naturally occurring

compound found in cannabis

heralded for its therapeutic

properties. It’s non-addictive

and, unlike THC, it doesn’t get

you stoned. It can be used

to treat things like anxiety,

disordered sleeping, pain and

disease.

Softgels are clear, pill-like

capsules filled with a precise

dose of cannabis oil, which

makes them conveniently

predictable. Edibles aren’t an

exact science. When baking

is infused with cannabis you

never really know what you’re

going to get when it comes to

dosing.

Because softgels are predosed,

you know exactly what

you’re getting, and their clear

capsule shell makes them easy

for the body to absorb. But, as

with edibles, good things come to

those who wait. Softgels can take

30 to 90 minutes to start working.

Once they kick in though, the

effects can be long-lasting –– up

to 12 hours.

Depending on your needs,

IT’S ALL

STARTING TO GEL

Softgel capsules deliver a dose of mother nature’s

medicine without the mess, smell or

unpredictability

By LAUREN DONNELLY

there’s a couple of different

options to choose from. There are

THC and CBD varieties that come

in sativa or indica dominant strains

so you can determine what suits

you best.

Shega Youngsen, a senior manager

with Tweed, says softgels

stand out in the cannabis market

because of their convenient, precise

format.

“You can take them on the go,

so it’s easy to consume if you’re

traveling.”

Tweed softgels are extracted

cannabis oil diluted in MCT oil and

start at a 2.5 mg dose. Youngsen

said that it’s a good starting point

for anyone who’s new or coming

back to cannabis. For those who

know what they’re comfortable

with there’s a 10 mg

option as well.

Whereas some edibles are

just a sugary, high-calorie

vehicle for cannabis, with

softgel capsules the ingredients

are straightforward.

“Of course infusing cupcakes

and brownies is fun,”

Youngsen says. “But what

makes a softgel special is

that there aren’t any added

ingredients.”

Tweed softgels are available

at any licensed retailer

across Canada, but there are

lots of other options.

Aurora’s CanniMed line

produces vegan softgel

capsules with CBD and THC

options including Indica and

Sativa dominant strains. Online

dispensary Blue + Yellow

carries softgel capsules

and delivers to cities across

Canada. Natural cannabis

wellness companies Miss

Envy and Mary’s Medicinals

also offer cannabis in capsule

format.

Softgels are a discreet,

unfussy alternative to smoking

or vaping. Maybe they’re

less rock and roll, but it’s

hard to argue with convenience.

,


Drink

BIG FAT

ZERO

THE BEST 0% BEERS IN CANADA

O’Doul’s

70 calories, 330 ml

O’Doul’s is the granddaddy

of booze-free

booze. A “de-alcoholized”

version with less

then 0.5 per cent has

been produced by Budweiser

for decades.

Tastes the most like

mainstream brewery

beer from all of those

featured here.

Budweiser

Prohibition

160 calories, 473 mls

Light, fresh and slightly

bitter, Budweiser’s NA

entry has classic big

brewery taste. This

lighter brew goes best

with peanuts, a hot dog

and a game.

DON’T SAY NAH TO THE NAs

Offering someone a non-alcoholic beer

in the past was often met with a smug “What’s the point?”

The assumption was that someone would only skip “the good

stuff” if they had to. Wrong. While effective for a booze-free hops

hit, there are now are plenty of great NA (non-alcoholic) beers with tons

of taste, all the refreshment and way less calories than the “hard stuff”.

You don’t have to be vegan to enjoy vegan dishes and you can enjoy an

NA without renouncing booze. It’s called pacing, maybe a little variety,

and the non-alcoholic options are better than ever with greater choice

and broader availability. Here’s BeatRoute’s

guide to some of the best.

Erdinger NA

82 calories 330 ml

Erdinger is a wheat

beer that’s hugely

popular in Germany.

Big Euro flavour with

floral hints and natural,

clean taste with no hint

of additives. Another

NA that tastes a lot like

the “real deal”.

Grolsch NA

115 calories 500 ml

A tasty take on the

Dutch treat. The NA

version of this legendary

beer from Holland

hits the flower accent

hard. It’s a satisfying

brew that tastes significantly

different than

the original. Don’t go

looking for a Grolsch

replica.

By MICHAEL HOLLETT

Clausthaler

92 calories 500 ml

An excellent German

lager entry into the

NA category. Slightly

sweet with strong

metallic hop notes, this

will please those who

like the grassy European

lagers.

0Partake Pale

0President’s Heineken 0.0

Choice

70 calories 330 ml

Blonde Brew

and Red Brew

Tastes like the “real”

50 calories 355 ml

stuff. Of all the NA

beers, drinks the

PC Red and a Blonde

most like the original.

Brew are tasty bargains.

Same great refreshing

Heineken flavour,

light taste and the Red

The Blonde has a great,

satisfying. Brew has smooth rich

flavor that could almost

pass as a Rickards Red.

Coors Edge

45 calories 355 ml

A big brewery entry

into the NA market,

Coors Edge has a light

clean taste and is a nononsense,

low calorie

option.

Becks NA

45 calories 330 ml

Big German beer taste.

A relatively hearty beer

very reminiscent of

regular Becks. Surprisingly

low in calories

yet a full-bodied NA

choice.

10 calories 355 ml

One of the first “craft”

entries into the Canadian

near beer market,

Partake is already a

winner of a World Beer

Award. At only 10 calories,

this is a winner for

real beer lovers. They

also have a blond, IPA

and stout.

JUNE 2019 BEATROUTE 11


MUSiC

My granddad told

me that the strongest

thing in this world is love

and if you spread it, you

will save human lives.

It doesn’t matter if you

save one or a million,

you’ve succeeded

at life.

YUNGBLUD

ACTUALLY

DOES GIVE

A FUCK

By JORDAN YEAGER

W

ith his black eyeliner

and punk persona,

Dominic Harrison,

better known as

Yungblud, may seem

intimidating at first

glance. But the second he cracks

his wide, genuine smile and says a

few words in his charming English

accent, it’s clear the opposite is

true.

Harrison grew up in Doncaster

and moved to London at 16 to pursue

a creative lifestyle, with more

than music on his mind. He recently

announced a comic book collaboration

with Z2 Comics and Ryan

O’Sullivan called The Twisted Tales

of the Ritalin Club. And he wants to

become an actor. He was featured

in six episodes of Disney TV series

“The Lodge” in 2016.

Obviously, Harrison is adaptable.

But his sense of self, both personally

and professionally, wasn’t

always so cemented.

CONTINUED ON PG. 16 k

ERIN COONEY


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14 BEATROUTE JUNE 2019


MUSiC CONCERT PREVIEWS

Wheat Kings

Andy Shauf remains on

the outside looking in with

Foxwarren By KATHRYN HELMORE

A

ndy Shauf is one of Canada’s

most talented multi-instrumentalist

singer-songwriters,

and he got his start in

Regina’s unlikely booming

Christian punk scene. But

even from within, he never

would drink the Kool-Aid.

“The mid-2000s punk scene in Regina

was about positivity and community with

a religious tone,” says Shauf. “But when

it came to the faith, I was kind of following

along. I tried really hard to get into it,

but something just didn’t line up

in my brain.”

Perhaps this sums up the

appeal of Shauf’s music. His

album, The Party (2016), is a

contemplation on a single night,

offering minute observations

of a humanity we all recognize.

It masterfully weaves together

ornate arrangements, fuzzedout

guitars, string sections, clarinets

and hazy synths. It’s the diary entry of

wallflowers and outsiders everywhere,

written in the small hours of the morning

following a crowded house party.

“The punk shows of Regina were

always mix-matched,” says Shauf. “It

was a mix of metal bands and hardcore

bands. I was the acoustic emo kid. I’ve

never been very extreme so I found

myself just a little out of place.”

Shauf’s repertoire manages to capture

the yearning feeling of being “just a little

out of place.”

FOXWARREN is (L-R) Darryl Kissick, Dallas Bryson, Avery Kissick and Andy Shauf

FOXWARREN

Calgary:

Saturday, June 1

Commonwealth Bar

& Stage

Vancouver:

Tuesday, June 4

Biltmore Cabaret

Tix: $15-$20

His latest work with Foxwarren

is no exception and has

been ten years in the making.

Reuniting with high-school

friends Dallas Bryson and

brothers Avery and Darryl

Kissick, Foxwarren released a

debut self-titled LP in November.

Compared to Shauf’s solo

work, the album is artfully

spacious and wields lyrical ambiguity

masterfully. Yet, despite the connection

that comes from a collaboration Shauf

describes as ‘the Simon and Garfunkel of

his highschool,’ the words unsaid and the

chords unplayed carry with them that

same melancholy sense of otherness.

“The album did not come out the way

we expected it to,” says Shauf. “When

recording, we planned a rock and roll

album inspired by the Rolling Stones.

That’s not how it turned out.”

Shauf’s ethereal, honey-toned voice

and acoustic guitar melds with eccentric,

diverse instrumentation. It’s the perfect

complement to a summer afternoon

— nostalgic, yet somehow filled with

conflict.

Shauf’s music resonates because it

speaks to our “out of place” sentimentality.

The chords mirror the touch of frigid

glass on fingertips as one peers through

a locked window into a world that is

seemingly populated by insiders. In capturing

that sentiment through masterful

songwriting and instrumentalism, Shauf

and Foxwarren create an awareness of

the living and breathing community beyond

the looking glass. Only time will tell

if the orchestrators of our awareness,

Foxwarren, will continue their collaborative

study of the uncollaborated soul.

JUNE 2019 BEATROUTE 15

CHRIS GRAHAM


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MUSiC CONCERT PREVIEWS

ERIN COONEY

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YUNGBLUD

k CONTINUED FROM PG. 13

“When you don’t know who

you are and you’re searching for YUNGBLUD

acceptance, you’re forced to find Friday, June 14

yourself,” he says. “When you’re Venue Nightclub (Van)

put in a position where you’re Tix: Sold out

either going to drown or swim,

you teach yourself to swim, whether that’s

through drinking, drugs, sex, or rebellion.

For me, it was music. I figured out who

I was and how to talk about my issues

through songwriting. At first, people told

me who they thought I should be – they

thought I should flutter my eyelashes, wink

at the girls and sing pop music with about

as much charisma as a pint of water. And I

did, until I realized how deeply sad I was. It

was just not enough for me.”

Thus, Yungblud was born, in an act

of protest. His first album, 21st Century

Liability, was a breakout hit, establishing a

burgeoning international fan base for the

band. He has even higher hopes for his

forthcoming release.

“I love albums like Good Kid, m.A.A.d

City by Kendrick Lamar and Blonde by

Frank Ocean that are just so incredibly well

thought out,” he says. “21st Century is a

concept album, but it was my first one, so I

have not nailed it yet. I’m happy I didn’t nail

it; I have room to grow, I’m learning, and

I’m excited for this next one. The concept

is ever-changing, but it’s about the people

I meet. You’re the best judge of how you

can be the best you – you don’t have to

conform to the perception of who people

think you should be. This album is almost

a tribute to individualism. I want Yungblud

to be a community where you can be who

you want to be no matter what, without

judgment and without hostility.”

Yungblud’s message resonates

with his fans so strongly

that they’ve formed the Black

Hearts Club. It’s exactly what

it sounds like – Harrison has

a little black heart tattoo, and

now thousands of others across the globe

do, too.

“It’s so crazy that it just happened

because they felt so connected with me,

and I felt so connected with them,” says

Harrison. “That’s the craziest thing I’ve

ever experienced in my life. We put things

on our bodies, and now we have a mutual

connection. It’s like a code. And I didn’t do

it – it was created by them.”

Platforms like social media help break

down the wall between artists and

audiences and with outlets like the Black

Hearts Club, Yungblud wants to break

them down altogether.

“I ain’t Yungblud the high and mighty,

the person who’s saving the world,” he

says. “I’m just a person talking to other

people about our issues. I’m wrong sometimes,

and they correct me. And they’re

wrong sometimes, and I correct them.

Yungblud is a community, a conversation.

It’s solidarity, energy and excitement.

“My granddad told me that the strongest

thing in this world is love and if you

spread it, you will save human lives. It

doesn’t matter if you save one or a million,

you’ve succeeded at life. And I was like,

‘Granddad, that’s fucking crazy.’” ,

16 BEATROUTE JUNE 2019


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JUNE 2019 BEATROUTE 17


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MUSiC CONCERT PREVIEWS

Psych-rock dream team

Sean Lennon

talks John and Yoko’s

essential influence

and diving South Of

Reality with Primus

frontman Les

Claypool

By JOHNNY PAPAN

B

y the time Sean Ono

Lennon was born, his

father, John Lennon,

music icon and peace

activist, had already

embarked on several artistic and

philosophical evolutions.

Though Sean’s time with his dad

was short, it was rich, and the

majority of his young life, before

John’s murder, was spent with his

father at his side, the older Lennon

having famously decided to

be a “house husband.”

“There’s so many things I’ve

always admired about my dad,”

Lennon explains. “He never

stayed the same; I think that’s really

incredible. If you look at the

difference between Abbey Road

and Two Virgins, it’s such a stark

transformation. He was always

looking to revise and improve

his worldview and his thinking.

I think that is true creativity, and

it’s true intelligence as well.”

Lennon was only five years old

when his father was killed outside

their home in New York City

on December 8, 1980, leaving a

void not only in his life, but the

lives of millions of music fans and

activists across the globe. Lennon

continued being raised by

his mother, conceptual artist and

activist Yoko Ono. He learned the

guitar by playing Beatles songs

while Ono taught him how to

record and produce music. Ono

also influenced Lennon with her

interpretation of art, which impacted

him during his formative

years.

“She has this philosophy about

art and creativity that art takes

place in your mind, and the medium

in which you express the

idea is unimportant,”

Lennon says.

“It’s secondary. She’s

never really felt like Tuesday, June 25

there was a medium The Commodore

Ballroom (Van)

she couldn’t do. She

made films, paintings,

sculptures, rock

and roll records. For her, it was all

just another kind of paint.”

Now 43, Lennon has drawn

influence from both his parents.

His voice is a ghost-like match

to his father’s, and he explores a

modernized style of psychedelia

in his songwriting. He currently

is part of the Claypool-Lennon

Delirium, an atmospheric

rock group formed with Primus

frontman Les Claypool. The duo

dropped their second record,

South Of Reality, earlier this year.

Many of Lennon’s songs on the

album read like short stories. The

first single, “Blood and Rockets,”

tells of Jack Parsons, a rocket

scientist and engineer who

CLAYPOOL-

LENNON DELIRIUM

with Jim James

Tix: $49.50, ticketmaster.ca

helped develop the

liquid fuel technology

that eventually led

America to the moon.

Parsons was also

enamored with the

occult and practiced

witchcraft. He died in

a science experiment explosion.

“Amethyst Realm” was written

after Lennon watched a TV report

about a woman who claimed

she was having sex with ghosts.

Much like his father, Lennon’s

music is decorated with references

to social discourse. He

feels that social media has been

monopolized, and free speech is

being compromised to the algorithms

of artificial intelligence.

Our “connections” have led to

real-world disconnect, resulting

in the degradation of human empathy.

“A lot of my songs tend to be

based on real life surrealism,”

Lennon says. “The modern world

is so bizarre, it almost feels unnecessary

to make things up

anymore.”

It’s clear where Lennon’s extended

worldview and experiential

artistic style come from.

“Some people feel like, in order

to forge their identity, they

need to reject their parents entirely,”

he says. “Some people

don’t feel that way at all. In my

case, I was prone towards the

latter because my dad died when

I was young. Him disappearing

from my life amplified my

desire to be a part of music. It

was a way of finding some kind

of solace from the void that was

left by him not being around. It

was the only thing that made me

feel like I was still connecting to

him.”

John & Yoko: Above Us Only

Sky documentary reminds

BeatRoute’s MIchael Hollett

of visiting Ono at the Dakota,

page 41.

JUNE 2019 BEATROUTE 19


SLED

ISLA

ND

NOLAN KNIGHT

Sled Island, Calgary’s dynamic discovery

indie music festival is back for another stacked

five days. Sled delivers thoughtful, engaging

and diverse programming that has become a

focal point for the music and arts community

in Western Canada. No matter your vibe, Sled

Island offers entry points for everyone while

also digging deep enough for new favourites to

emerge.

June 19 to 23, 2019 / Various Locations /

Tix: sledisland.com

By SEBASTIAN BUZZALINO

20 BEATROUTE JUNE 2019

JULIEN BAKER

SLED ISLAND 2019’s

GUEST CURATOR

J

ulien Baker’s delicate folk

songwriting feels like a

long-forgotten favourite

sweater. She is emotive

and resilient, leaving wideopen

spaces for listeners to enter

her songs and feel right at home,

tackling tough topics like trauma,

substance abuse and self-acceptance.

It’s at once comforting and

disarming. In 2018, she co-founded

boygenius, a supergroup of sorts

with Lucy Dacus and Phoebe

Bridgers.

As this year’s guest curator, Baker

uses her powerful voice to add

poetry to Sled Island, contributing

artists such as Bully, Death Bells,

Japanese Breakfast and JPEG-

MAFIA to the lineup. We caught up

with her to talk about the process

of guest curating the festival, what

her vision was for the bands she

brings to Sled Island and how it all

fits together into the larger picture

for 2019.

What was it like to get approached

by Sled Island to be

guest curator?

JB I’ve never done anything similar

to curating Sled Island or anything

close to that scale, so being

approached by the festival was both

a massive honour and a daunting

task. It felt like an enormous gift to

have a say in what kind of acts would

be brought to the festival and I was

happy I would get to help create a

lineup full of artists that bring me so

much joy.

I also felt a slight amount of

apprehension because I wanted

festival-goers to enjoy and be able to

engage with the music as much as I

do. I think it was an exercise for me

in letting go of suppositions or trying

to anticipate the desires of others.


What are you most proud of in

your role as guest curator?

JB I wanted booking the festival to

be a more thoughtful process than

just picking my favourite bands: I

mostly wanted to make sure that

there were a variety of experiences

and narratives presented. So I

tried to balance things, make sure

the acts weren’t all completely

obscure and also that they weren’t

all within such a similar vein that

it was alienating to people who

maybe preferred another genre.

I tried to view my role as curator

as a chance to redirect attention

to the artists that I believe have

something important to impart to

people or who have moved me.

I think I wanted to, in the most

humble way possible, put music in

front of people that has affected

me and that I think could affect

them in a meaningful way.

You are Sled Island’s youngest

guest curator to date. Do

you feel that allowed you to

bring a different vibe to guest

curating?

JB It was an enormous honour,

while a little intimidating. I find I’m

usually a student of those much

older or much younger than me,

those who are either much more

privy to the current or much more

versed in the past. Both categories

of people seem to have a

more comprehensive understanding

of music’s intricate, constantly

emerging history. I suppose that is

true of any person, since no two

people are going to have the exact

same musical taste or preference.

I think one of the great things

about this festival is that it sort of

eliminates the stratification between

those who organize the fest

and those who attend. It changes

the format, removes the somewhat

invisible arbiters of taste who

curate a lineup and decide what is

worthy of attention. I think getting

rid of that perceived superiority

gap creates a context that seems

much more intimate and more

human, the guest curator is just

offering their individual knowledge

to the communal awareness, saying,

“Here is something that feels

valuable and important and worthy

to me. I hope that you can derive

as much joy from it as I have.” To

me, music has always been an

exercise in shared curiosity and

I hope that, if anything, that spirit

of curiosity and ongoing conversation

is my contribution to Sled

Island this year.

Julien Baker plays Saturday, June

22 at The Palace Theatre

4ESSENTIAL

SHOWS

3 CASS

MCCOMBS

Wednesday, June 19

Central United Church

There’s nothing flat

about the earthy tones

of modern troubadour

Cass McCombs’

latest album, Tip of

the Sphere. After all,

the California-bred

singer-songwriter is a

seasoned professional

when it comes to

surveying life’s emotional

peaks and valleys.

Armed with a sharp

ear and a steady hand,

the politically-minded

myth-maker draws on

traditional Western

rock, folk and punk to

1

MAN OR

ASTRO MAN?

Saturday, May 22

Dickens Pub

A radioactive rock and roll

juggernaut dedicated to

bringing the good word

of science fiction to the

galaxy, Man or Astro-Man?

have scoured the globe to

fill their set with the most

stimulating sounds and

diminutive lyrics in the

known universe.

Attracting alien species

from all quadrants with an

array of zany but airtight

tracks, their performances

encapsulate the atomic

excitement of an Apollo

2 BULLY

Friday, June 21

Palace Theatre

There’s no better stress

relief than forming a punk

rock band and venting

frustrations with chords

and kick drums. Alicia

Bognanno has never

needed much of an excuse

to rebel against the

status quo. As the front

woman of Nashville’s Bully,

she’s strapped herself

into both the driver’s seat

weave vivid narratives for

modern times. He’s an

alt-country architect with

a pop-coloured vision that

has been framed out over

the course of a 10-album

and 15-year career. Mc-

Combs has made exploration

and experimentation

the crux of his practice.

Some songs meander

like lazy rivers while

others leap and gallop like

horses fleeing a burning

stable, but they all reference

classic Americana.

For McCombs, it’s not

about recreating the past,

but reflecting on a shared

history in a relatable and

authentic way. Seductive

in all its mangy dog

splendour, McCombs’

signature sound with its

dark humour, harmonic

brain dumps and counterculture

root-downs has

the potential to unclog

cognitive filters and flood

the hidden catacombs of

the human soul.

Christine Leonard

splashdown, complete

with all the rocket-fuelled

and the producer’s chair

in order to launch their

dangerous garage rock

dreams into the stratosphere.

Brave enough to

expose wounds old and

fresh, Bognanno channels

her excess angst

and energy on the stage

and in the studio. After

five years of slogging

it out, the heavy hooks

and hard turns that have

defined Bully’s rough

exterior are more than

4 RAPSODY

Thursday, June 20

Palace Theatre

Rapsody (aka Marlanna Evans)

is a modern hip-hop enigma. The

rapper grew up in the small town

of Snow Hill, NC, and did not

discover her love of hip-hop until

she entered college. No matter

if Evans was a late bloomer, she

has germinated and taken root

in the music scene, establishing

herself as a smooth,

sophisticated emcee, known

for her elaborate rhyme

configurations, wordplay and

metaphors.

Her sophomore release,

Laila’s Wisdom (2017), was

met with critical acclaim and

saw her collaborating with

some of hip-hop’s biggest stars,

including Anderson .Paak, J. Cole,

H.E.R. and Kendrick Lamar. Channeling

chill west coast vibes from

g-funk-era soul samples with the

raw grit, bounce and technicality

of east coast production,

Rapsody delivers an authentic

blend of hip-hop

and R&B. Tory Rosso

antics fans have come to

expect from these punk

just crude devices. Bully

rules the hallways with a

strict DIY dress code of

fuzzy guitars and neon

screams that go beyond

the easy 90s Seattle

scene comparisons.

Warmed by the glow of

Bognanno’s fiery lyrics,

the band’s stripped down

style sets aside the

artificial and allows their

naked skills to shine

through the noise, grunge

and glamour.

Christine Leonard

rock kosmonauts.

Roll over, Dick Dale!

Here we have mercurial

surf guitar mechanics with

instrumental ranges that

rival those slick-haired

stringbenders of the early

60s. Claiming the dance

floor as their personal

Area 51, this Tesla-coil

crew sets the scene for

close encounters with the

light fantastic. Undeniably

catchy, Man or Astro-Man?’s

nimble picking

and rumbling rhythms are

the perfect soundtrack for

a high-octane dune buggy

rally or just another day of

watching UFOs crash into

the ocean. Life’s a beach.

Christine Leonard

JUNE 2019 BEATROUTE 21


SKYE WALLACE/JOH PACKMAN CRACK CLOUD/ MATILDA HILL JENKINS

the Playlist:

10

1

Skye Wallace

There Is A Wall

With a classically-trained vocal

delivery that ranges from folksy to

full-fledged rock and roll frontwoman,

Wallace is out for blood on this

assertive single that calls out the

barriers to female success.

2

Crack Cloud

The Next Fix

Vancouver multimedia punk outfit

Crack Cloud switch up their style

with a half-rapped track that

serves as a dedication to victims of

the opioid crisis. The music video

is as much of a journey as the song

itself.

3 Loving

Nihilist Kite Flyer

The Victoria indie rock band

returns with a calming single about

getting lost in life’s simple joys. Go

fly a kite and forget about your

responsibilities. Like they say, who

needs a meaning?

4

Ed Sheeran &

Justin Bieber

I Don’t Care

We know you’ll get sick of this one

as soon as it works its way onto every

“chill summer” Spotify playlist,

but for now enjoy it for what it is

- another inoffensive and inescapable

earworm from Swedish pop

mastermind Max Martin

5

The Black Keys

Go

With an accompanying video that

pokes fun at the tensions between

the duo during their musical hiatus,

they return to doing what they do

best. A little heavier than usual,

indulge in the crunchy garage rock

goodness.

songs in heavy rotation at the BR offices right now

1 2 6 8

5

DJ Khaled

drops “another

one” with his

release of

Father of

Asahd.

7

6

Denzel Curry

SPEEDBOAT

The aggressive and technically

skilled rapper takes an unexpected

turn with a somber piano

instrumental … that he of course

proceeds to tear to shreds anyway,

shouting out his late roommate

XXXTENTACION on the way.

Check out the rest of Curry’s new

album, ZUU, just released!

7

DJ Khaled

Higher

9

(Ft. Nipsey Hussle & John Legend)

The last song Nipsey Hussle ever

recorded, he drops some chillingly

prophetic bars as John Legend

brings some gospel flavour to the

hook. All proceeds from the track

go to Hussle’s family.

8

Tyler, the Creator

EARFQUAKE

(Ft. Playboi Carti & Charlie Wilson)

It almost seems wrong to listen to

IGOR as anything but a complete

album experience, but this synthfunk

tune is the closest thing on

the project to a pop hook that will

never get out of your head. Igor’s

falling in love. Check out the full

review of the album on page 32!

9 Alexisonfire

Complicit

We knew that 2012 “Farewell Tour”

wasn’t really the end. Their second

single this year after a seven-year

hiatus, the Canadian emo-hardcore

giants return with similarly catchy

guitar riffs but heavier, more growled

vocals dominating the track.

10

Charli XCX

Blame It On Your Love

(Ft. Lizzo)

A more radio-friendly rework of

“Track 10” from Charli’s experimental

pop opus Pop 2, she adds some

sugary synthpop flavour and a fun

verse from breakout star Lizzo. “I

HOPE THIS BECOMES UR NEW

PARTY ANTHEM,” she tweeted.

VANESSA HEINS

22 BEATROUTE JUNE 2019


Tickets on sale now!

JESSIE REYEZ • BAHAMAS • SERENA RYDER

HALF MOON RUN • A TRIBE CALLED RED • WINTERSLEEP

DEAR ROUGE • PEACH PIT • SHAD • JOCELYN ALICE • FOXWARREN

COSMO SHELDRAKE • FAST ROMANTICS • SCENIC ROUTE TO ALASKA

FRED PENNER • THE JERRY CANS • ART D’ECCO • THE BOOM BOOMS

SARAH MACDOUGALL • LUCA FOGALE • daysormay

PARKER BOSSLEY• JESSICKA • THE SUNSET KIDS

HUNTING • BEGONIA • THE MODELOS

SAM LYNCH • TAYLOR JAMES

THE OOT N’ OOTS • THE KWERKS

CAT MADDEN

lineup subject to change

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JUNE 2019 BEATROUTE 23


CHECK OUT THE RECORD THAT HAS EVERYONE TALKING

Mojo Magazine

4 Stars

Planet Rock

“…A deep, deep

record”

LA Weekly

“…now it’s Duff’s

time to shine.”

Hot Press

9★ “…a stunningly

powerful album”

CD & LP avaialble 05.31.19

MOVING

STILL Performative

Photography

in India THROUGH SEPT 2, 2019

This exhibition is organized by the Vancouver Art Gallery, an initiative of the Institute of Asian Art and curated by Diana Freundl, Associate Curator of Asian Art and

Gayatri Sinha, Independent Curator and founder of Critical Collective

Visionary Partners for the Institute of Asian Art:

Liu Bao, Wang Ying and Liu Manzhao

Visionary Partners for Photography Exhibitions:

Miles, Maureen and Larry Lunn

With additional support from:

The Institute of Asian Art Development Committee

Dr. Hari Sharma Foundation

[left to right] Umrao Singh Sher-Gil, Sisters in bed, c. 1932, modern silver gelatin print with selenium toning, Courtesy of PHOTOINK; Pushpamala N, Sunhere Sapne (Golden Dreams), 1998, hand-tinted black and white photograph, Shumita & Arani Bose Collection, NY;

Gauri Gill, Untitled from Acts of Appearance series, 2015–ongoing, archival pigment print, Courtesy of the Artist; Naveen Kishore, Performing the Goddess: Chapal Bhaduri Story, 1999, inkjet print, Courtesy of the Artist

MovingStill_BeatRoute_1/2Page-Ad.indd 1

24 BEATROUTE JUNE 2019

2019-05-21 11:58 AM


MUSiC CONCERT PREVIEWS

IN LOU

WE TRUST

Fiercely Democratic

Indie Rockers Sebadoh

Strike the Perfect Balance

on Act Surprised

By KARINA ESPINOSA

L

ou Barlow is at home in

Greenfield, Massachusetts,

struggling to speak over

the sounds of high-pitched

giggles and little footsteps

scurrying in and out of the

background. His two youngest kids

are having a playdate, and every now

and then the Sebadoh frontman has

to abruptly stop what he’s saying to

address his tiny intruders. But his

tone is playful, and you can almost

hear Barlow grinning on the other

end of the line.

It would be easy to forget that

this same person helped shape the

mood and sound for an entire movement

in the 90s. When Sebadoh released

indie rock gems like Bubble &

Scrape (1993) and Bakesale (1994),

you could feel the crushing weight of

emotional ambivalence reflected in

the delicate yet discordant music. Of

course, these records were written

during the band members’ tenuous

20s. But Barlow happily reports that

he’s since reached a stable period in

his life, which made it possible for

Sebadoh to create one of their most

refined albums to date.

“It gave me a chance to really concentrate

on the texture of the record

and how we were going to record it,”

he says. “There were a lot of ideas

that I was able to follow through with.

When I’ve written and recorded music

in transitional times, it was hard

to do the basic structural work that it

takes to make a really good record.”

Act Surprised, Sebadoh’s first fulllength

work in six years, arrived May

24. Lead single “Celebrate the Void”

explores the band’s familiar theme of

anxiety, but it isn’t despondent; instead,

the song urges you to take everything

in stride. About a year ago,

Barlow was recovering from a shattered

collarbone, he had slipped on

some ice while carrying his youngest

child. The timing couldn’t have been

worse: his other band, Dinosaur Jr.,

was just about to reunite for a tour.

His mishap also came on the heels of

a divorce, and the prospect

of losing income from tour

SEBADOH

band in a new direction,

Barlow, along with guitarist

cancellations was a constant

Saturday, June 1

Jason Loewen-

source of panic.

“It was like my worst

Fox Cabaret

Tix: $25, ticketweb.ca

stein and drummer Bob

D’Amico, commissioned

nightmare was coming

long-time acquaintance

true,” he says of the accident. “At the

same time, my 13-year-old daughter

was going through some really intense

personal changes – it was just a very

overwhelming period of time. But I

think I realised that I was going to have

to live through it. The most important

thing to do in that situation was to relax

and move forward and let go of the

idea that I’d ever have an easy resolution

to everything.”

It was a turning point for Barlow,

and for Sebadoh. Hoping to steer the

Justin Pizzoferrato to produce Act

Surprised. His technical expertise

was hugely beneficial for the trio.

“We were able to zero in on the creative

side of things, which was what

I always wanted for the band,” says

Barlow. This balance is clear from

the three singles released so far:

“Stunned,” “Raging River,” and “Celebrate

the Void” are classic Sebadoh

head bangers and showcase the band

at its most powerful.

“We’d been touring for a long time

together, so the core of the band was

always electric. I think we knew what

our strengths were and we made an

album that was the most representative

of what we were capable of as a

three-piece rock band.”

If there’s one thing Sebadoh truly

excels at, it’s maintaining an equal relationship

between all three members.

It explains why they’ve lasted so long

and why they may never break up.

“We’ve always been a fiercely democratic

band. It can be difficult, because

people tend to want to take all

control or very little,” Barlow laughs.

“To negotiate that middle ground is

challenging, but for Sebadoh it only

made sense that everyone’s voice was

heard.” ,

JUSTIN PIZZOFERRATO


PAAK M

MUSiC COVER STORY

Friendships fuelled

Anderson .Paak’s

transition from the

streets to the stage

and studio

By Joey Lopez

26 BEATROUTE JUNE 2019


AN A nderson .Paak moved from couch

surfing to crowd surfing in 10

short years, becoming one of this

decade’s most important and respected

hip-hop and soul singers.

His star continues to rise, as his

latest stacked world tour demonstrates

with guest appearances from acts

like Thundercat, Vince Staples and Earl

Sweatshirt.

.Paak was homeless, bouncing from

couch to couch just a decade ago while

pursuing his music dreams, relying on

relationships he built in the LA music

scene to keep afloat. Never having a place

of his own but always a place to go, .Paak

was given the support to go from being an

unknown musician to a Grammy-nominated

superstar.

“My close friends were always letting

me use their studio or letting me use their

couch. If I didn’t have those

relationships I don’t know if I

would’ve been able to get over

that bridge,” says .Paak, soft

spoken and clearly drained two

weeks into his Best Teef In the

Game tour.

Although he’s exhausted, that doesn’t

keep .Paak from enthusiastically running

with every question; delivering each answer

with excitement and humble honesty.

On his life before fame, he doesn’t speak

of himself, but of the people who loved

him.

“When I didn’t have a spot of my own it

was the people around me who were like,

‘You’re super dope, we love you. You can

stay here and what I have is yours.’ I think

that’s what determines if people are going

to give up or keep going, those relationships.”

If not for the support, .Paak wouldn’t

have released his debut album Venice,

which earned him the attention of his

longtime hero Dr. Dre. After hearing an impromptu

freestyle from .Paak, Dre featured

him on Compton (2015). Three years later,

Dre was producing .Paak’s outstanding

back-to-back acclaimed releases. Oxnard

was a banging hip-hop record that allowed

.Paak to experiment with his own unique

rap flow, dropping the soul grooves for a

gritty hip-hop production. Ventura, a return

to form with a heavy focus on soul and

beautiful instrumentals from his band, The

Free Nationals.

The process was a loaded one with


When I didn’t have

a spot of my own

it was the people

around me who

were like, ‘You’re

super dope, we

love you. You can

stay here and what

I have is yours.”

ANDERSON .PAAK

Wednesday, June 19

PNE Amphitheatre (Van)

Tix: $59.50, ticketmaster.ca

help from legends in the game, including

the prolific André 3000. .Paak’s laughter

breaks through a yawn when talking about

3000.

“There’s so much that goes into one

verse because that’s not just a verse to

him, it’s like a whole album. Even after we

got it, it wasn’t over because he called and

was like, ‘I don’t know if I should be on the

song. I don’t know if I did a good job.’ and I

was like, ‘The fuck are you talking about?’

We had to have a little pep talk and even

when it was about to release he still was

doubting it and I had to reassure him, but

now it’s done.”

Getting a single verse from 3000 was

a year-long process, but .Paak says it’s

one of the craziest verses he’s ever heard.

Viewing him as a hermetic legend, .Paak

felt lucky despite the ordeal.

Big name collaborations have been a

part of a series of goals .Paak

set for himself. Back when

he was living in Kentucky, he

laid his dreams out, making a

promise to himself that with

his debut album he would sell

10,000 records, buy the clothes

he wanted, a new car, make a million

bucks and then make it big. He’s taken the

time to look back on his accomplishments

and says he’s realizing it’s time for the next

logical step.

“I had all these things working out and

I turned around and was like, ‘What the

fuck? You did all of this shit?’ So it was

time to make a new goal: After this tour, I

really want to hop on the production shit,

helping other artists; helping them write

and helping them produce.”

He measures his words, falling silent

between answers to give each one proper

thought. “I feel like I’ve just been putting

out music, so now I just want to lay low.”

In particular, .Paak wants to help his

band, The Free Nationals, in their journey

to becoming a powerful entity and breaking

out on their own. The band has been

a huge source for his signature soul and

groove sound.

Beyond the artistry, the touring, the

Grammy nominations and critical acclaim

he is Brandon Paak Anderson; father

of Soul Rasheed Anderson and Shine

Anderson. His two sons are his biggest inspiration

to take a step back from touring

and songwriting.

“Touring and putting on shows is great,

but I also want to be my best self, so that’s

what I want to keep building on and not

just being a performer. I also have to get

that family time. I have two sons back

home and they’re absolutely beautiful,

man.”

.Paak began humbly with nothing but

a pearlescent smile and an undeniable

talent. Now famous for both, he is one of

the most exciting acts in music today. The

happiness and contentment is apparent in

the way he speaks; knowing he has a story

he’s enthusiastic to tell.

There might not be any new music from

.Paak in the near future, but expect to see

his name plastered on producer credits

between now and his next highly anticipated

release. ,


FESTIVAL PREVIEWBREAKOUT

HOW

SAWEET

IT IS

Saweetie is just

one of the many

female rappers

creeping onto

the charts right

now. As someone

who spent

her early years

idolizing Nicki

Minaj, this shift excites the

rising west coast star.

“I was inspired by her being

unapologetically herself.

SAWEETIE at

BREAKOUT

FESTIVAL

Sunday, June 15 & 16

PNE Amphitheatre

Tix: $99-$149 (single day),

$149-$269 (2 day pass)

Being a woman in the hip-hop

industry, we’re often criticized

for anything,” Saweetie

says, explaining she’s been

criticized for being too

“bubblegum” and for talking

explicitly about her sexuality.

Saweetie credits social

media as a big help to her career.

Her first hit, “ICY GRL,”

was originally a freestyle

rapped in her car that she

posted to Instagram.

“Social media is where

I hustled, because social

media is the new way of

passing out your mixtape on

the street.”

Her series of “car raps”

was originally just for fun, but

quickly turned into something

that resonated with people,

much to Saweetie’s surprise.

“My music is growing faster

than me as an artist,” she

says. “I’m trying to play catch

up. I didn’t expect all this to

happen so quickly.”

Now that her meteoric rise

has caught her off guard,

Saweetie plans to spend time

in the studio honing in and

discovering her sound before

she feels ready to come out

with a debut album. While

quite a few of her standout

tracks have paid homage to

rap hits of the past through

samples and interpolations,

she’s planning to switch that

up.

“I think I’m gonna focus

on more original

beats,” she says.

“Tapping into my

creativity and

really starting from

scratch is very

important to me,

so moving forward

I could find myself

doing more beats that sound

like a Saweetie sound.”

But her success can

sometimes be the very thing

preventing her from doing

that work.

“My project’s doing

really well, so I keep getting

booked. My schedule is so

full of photoshoots and travelling

and doing interviews

like these. But eventually I’d

like to go back to my roots,

back to the studio and find

out what that sound is.”

Saweetie is in a high-profile

relationship with Migos

star Quavo, who she says has

spent a lot of time helping

her navigate the waters of

the hip-hop industry and become

a more versatile artist.

“I’m a very soft-spoken,

laid-back person, and that

comes across in my music.

However, not every song can

sound like that.”

Saweetie says Quavo has

helped her step out of her

comfort zone, becoming

more aggressive at times

and even singing on a couple

tracks. He appears twice on

her latest EP.

Saweetie is the only female

rapper performing at Vancouver’s

third iteration of the

Breakout Festival, but she’s

not letting that faze her. If

anything, it just motivates her

even more.

“Me and my girls have a

bomb-ass show,” she says.

“I’m very excited to represent

for the females.”

By BEN BODDEZ


JIMMY FONTAINE

5MUST-SEE

1

A$AP ROCKY

A year after the release of

the psychedelic and experimental

TESTING, the leader of

A$AP Mob is back to headline

Breakout Festival. Rocky has

gotten progressively more artistic

in his career, venturing into

the world of big-name fashion

and collaborating with acts like

FKA Twigs and Frank Ocean

Ocean.

2

RAE SREMMURD

The hit-making brother

duo of Swae Lee and Slim

Jxmmi had another enormous

year promoting their expansive

triple-disc album SR3MM,

grabbing a prime spot opening

for Childish Gambino’s final

tour and coasting off huge club

singles like “Powerglide” and

“Guatemala.” Prepare for a lot of

energy on stage.

3

LIL BABY AND GUNNA

While assigned to separate

sets, you can’t often find one of

these artists without the other.

Both protégés of the trap music

trailblazer Young Thug, the two

achieved their biggest success

yet with collaborative album

Drip Harder in 2018. Expect

some crossover between the

two at the festival.

4

RICH THE KID

The Haitian rapper was a

force in the underground scene

before breaking through to the

mainstream in 2018 with his

first studio album, The World Is

Yours, which spawned hits “New

Freezer” with Kendrick Lamar

and “Plug Walk.” Its sequel, The

World Is Yours 2, was released

in March and will factor heavily

into his set.

5

BREAKOUT

SHOWS

LIL SKIES

One of the many young

artists leading a new wave of

pop-punk influenced melodic

rap tunes, the 20-year-old Lil

Skies has already hit the Billboard

charts multiple times with

his woozy and somber tracks.

Unlike most of his contemporaries,

Skies’ emotional delivery

is completely authentic – no

Auto-Tune here.

RIO

THEATRE

1660 EAST BROADWAY

JUNE

5

JUNE

6

JUNE

7

JUNE

8

JUNE

9

JUNE

10

JUNE

11

JUNE

12

JUNE

13

JUNE

14

JUNE

16

MAY

18

JUNE

20

JUNE

22

JUNE

25

JUNE

Double Bill!

Jackie Chan

POLICE STORY 1 & 2

Paul Anthony’s

TALENT TIME

Psychedelic Summer Trip!

Dario Argento’s

DEEP RED

Friday Late Night Movie

The Geekenders Present

DISNEY BIG BAND

BURLESQUE

Free Screening!!!

THE WIZARD OF OZ

An Evening With

STORMY DANIELS

Federico Fellini’s

LA STRADA

STORY STORY LIE

Championships!

The Gentlemen Hecklers Present

STARSHIP TROOPERS

Double Bill!

SUSPIRIA

Dario Argento’s (1977)

Luca Guadagnino’s (2019)

GAME OF THRONES: LIVE

Fire and Ice, Ice, Baby!

*Also June 15

Nicolas Cage

MANDY

Friday Late Night Movie

L’INFERNO (1911)

With Live Score Performed By

MAURIZIO GUARINI (of Goblin)

The Fictionals Comedy Co. Presents

IMPROV AGAINST HUMANITY

Maple Magic

25th Anniversary Screening

REALITY BITES

GREASE

Sing-a-long!

35th Anniversary Screening

PURPLE RAIN

26

JUNE

THE CRITICAL HIT SHOW

A #DNDLive Improv Comedy Adventure

*www.riotheatre.ca for additional times

COMPLETE LISTINGS AT WWW.RIOTHEATRE.CA

S

JUNE 2019 BEATROUTE 29


JUNE 2019

SOLD OUT

TUES 4

FOXWARREN

FRI 7

REWIND FRIDAY

W/ ALAN & BAZZ

WED 12

TTNG

NITE MOVES

IQ 2000 TRIVIA

SAT 1 DANCE PARTY JAMS FOR THE YOUNG, SUN 2 TUES 4

RESTLESS, AND BORED!

THE OFFICE

FOXWARREN

SOLD OUT

THU 6 FAST ROMANTICS FRI 7 LITTLE PEOPLE FRI 7

REWIND FRIDAY

W/ ALAN & BAZZ

SAT 8

FEARLESS/ ON THE RISE

SAT 8 WED 12

LIVE MUSIC SHOWCASE

BYE FELICIA

ANYTHING GOES!

TTNG

THE MATCHSTICK

SKELETONS

REWIND FRIDAY

FRI 14 FRI 14 SAT 15

W/ ALAN & HEARTBEATS

GANG SIGNS

NITE MOVES

SAT 15 W/ PETER RICQ, SAVEMEBOOTS, WED 19 TYLER HILTON FRI 21

MOIRA KELLY

MINI MANSIONS

REWIND FRIDAY

FRI 21 SAT 22 ANDREW PHELAN SAT 22

W/ ALAN & BAZZ

BYE FELICIA

ANYTHING GOES!

NASTY WOMEN

COMEDY

MON 24 THU 27 JAMILA WOODS FRI 28

NYLEZ K

REWIND FRIDAY

FRI 28 SUN 30

W/ ALAN & BAZZ

CANADA BLOCK PARTY

AFTER PARTY W/ SURPRISE GUESTS

FOR MORE INFORMATION GO TO WWW.BILTMORECABARET.COM


Reviews

MUSiC

Album Review

CARLY RAE JEPSEN

Dedicated

INTERSCOPE

Emotion reinvented Carly Rae Jepsen

as more than just a candy-coated

pop star and established her as an

album-oriented artist that even indie

kids could get down with.

Dedicated is a well crafted synth

pop album that is more of a grower

than a show-er. It has its share of

dance floor-ready tracks like “Now

That I Found You” and “Party For One,”

and even though they lack the sugar

rush of “I Really Like You” or the massive

hook of “Boy Problems,” Jepsen

boasts an adrenaline fuelled collection

of upbeat songs that will have you

humming along.

The production sticks to familiar

territory with its disco- and

80s-influenced mid-paced tracks

that edge towards R&B. The skatinged

“I’ll Be Your Girl” is a bit

more experimental and boasts a

monstrous chorus.

Jepsen has a knack for keeping

things in that enjoyable sweet

spot, staying danceable without

forcing listeners to get out on the

floor. Before the album’s release,

she said she wanted to make

music to clean her house to; Dedicated

stays true to that intention.

One of Jepsen’s strengths is

her ability to portray the nervous

excitement of a new relationship,

or of waking up next to someone

you love. Dedicated continues this

tradition with album highlight “Real

Love,” and even amps up the thirst

with “Want You In My Room.” It’s

an album filled with her characteristic

portrayal of longing.

While it would be nice to have a

couple monster singles or daring

experiments to take this album

to the next level, when you do

what she does so well, sometimes

playing it safe is okay too.

Jepsen kicks off her Canadian

tour at the Commodore Ballroom

in Vancouver on August 28 and

29.

Best Track: Right Words

Wrong Time

Graeme Wiggins

JUNE 2019 BEATROUTE 31


MUSiC ALBUM REVIEWS

TYLER,

THE CREATOR

IGOR

Columbia Records

It’s rare to see a complete career

reinvention like what Tyler, the

Creator has pulled off. From the

early criticisms of his intentionally

shocking horrorcore rap all the way

to the lush and vibrant Flower Boy,

Tyler has always aimed to surprise

and elicit strong emotions in his

audience.

His latest project, IGOR, comes

with a written instruction manual

asking fans to concentrate on the

album and play it straight through

with as little distraction as possible.

And it’s easy to stay focused because

Tyler’s story is a compelling

one. We hear the Igor character

experience some complicated and

confusing emotions for the first

time as he falls in love with a man,

becomes violently angry when his

love interest becomes involved with

a girl, and finally realizes what he’s

become, getting over the crush and

hoping to remain friends.

With a wildly talented list of

collaborators that includes all of

Tyler’s greatest idols and influences

– Santigold, Pharrell Williams, Kanye

West and more – the sound of the

project is essentially a much darker,

more distorted Flower Boy.

On IGOR, Tyler plays around with

the sunny synths of his last work

and shows how far he’s come as a

producer in the interim. Take Tyler’s

advice and really dive into this one.

It’s a dense but rewarding listen.

Best Track: I THINK

Ben Boddez

HOT CHIP

A Bath Full of Ecstasy

Domino

With A Bath Full of Ecstasy, the

indie-infused electronic group from

London returns in a symphonic

smash of bangers, leaving listeners

longing for more. Lucky number

seven on a discography that dates

back to 2004, the album is a

refined array of synth pop anthems

reminiscent of 80s and 90s electro.

It’s an album that feels complete,

with an attention to detail that

allows each song room to breathe

in their often five or six-minute

run-times.

Lead-vocalist, Alexis Taylor,

manages to transcend himself

with a performance that drives

and complements layered synths,

heavy drum-beats and crisp major

piano chords. Lyrically, the album

is a love song that doesn’t specify

a target. The sometimes repetitive,

chart friendly words echo and roll

off Taylor’s tongue in a psychedelic

sort of poetry.

For years, Hot Chip has been

known for their unique take on

electronic music that varies from

song to song and album to album,

but A Bath Full of Ecstasy feels like

a decisive, colourful line in the sand

that says, finally: This is us.

Best Track: Hungry Child

Brendan Lee

BARONESS

Gold & Grey

Abraxan Hymns

From the opening rays of “Front

Towards Enemy,” it’s obvious

Baroness has risen from their own

ashes and come to flourish in the

aftermath of a tour bus crash that

left the Savannah, Georgia-based

heavy metal entity twisted and

broken.

Leading the charge, guitar god

John Baizley returns to the limelight

with a fury. The subject of much

interest and speculation, Gold &

Grey presents a band that has been

reinvigorated by the synergistic

presence of incoming guitarist Gina

Gleason.

Boasting 17 indefatigable

tracks, the dual-toned album shifts

smoothly between singles like

the sinuous “Seasons” and the

hyper-observant “Borderlines.” A

naturally intense Baizley perpetuates

his examination of the human

condition with a long-absent sense

of wonder and even enjoyment on

“Broken Halo” and “Throw Me an

Anchor.”

A gallery of layered vocals

and intricate rhythmic patterns

elevate “I Would Do Anything” and

“Pale Sun” to a level of excellence

commensurate with visual artist

Baizley’s jaw-dropping album cover

murals.

Best Track: Seasons

Christine Leonard

RICHARD

REED PARRY

Quiet River of Dust Vol. 2:

That Side of the River

Secret City

Though we all know him best as

the guy from Arcade Fire with the

iconic side-part, Richard Reed Parry

has proven his versatility through

multiple solo records and collaborations

outside of his internationally

adored indie rock band.

Last year, Quiet River of Dust

Vol. 1 invited listeners into an ambient

space with a strong songwriting-oriented

core. The sequel – Vol.

2 – brings that layered liminality to

new heights. Parry explores such

illusive constants as time and the

vessels we inhabit.

Quiet River of Dust Vol. 2 hints

at the fluidity of slowly moving

water, rippling, flowing and building

toward the intensity of a strong

current. Varied instrumental tones

are subtly and effortlessly layered

around repetitive rhythms and

melodies, creating a wavelike aura

of both escalation and consistency

throughout each track.

Despite this emphasis on atmosphere,

the heart of the album is

Parry’s poetry. However abstract,

each verse clearly follows a core

metaphysical theme of absorption,

release and acceptance in life’s

flowing tides. The result is steady

and dreamlike.

Best Track: Long Way Back

Safiya Hopfe

SKEPTA

Ignorance is Bliss

Boy Better Know Records

With rumbling bass and rapid-fire

flows, UK’s Skepta continues to

show why he’s the leading voice in

the grime game with his return to

form on Ignorance Is Bliss. Skepta’s

2016 album, Konnichiwa, was a

major catalyst towards alerting

a North American audience to

the presence of grime music – a

menacing and aggressive style of

techno-influenced rap based out

of the UK.

Skepta’s rise to prominence

even got him a premium placement

on a Drake project, but you won’t

hear the 6 God on this outing. Now,

the top dog from South London

stands out on his own and his bark

is as badass as his bite. Skepta

returns with another solid series

of tracks that doesn’t necessarily

reinvent the wheel, but impresses

nonetheless due to his dominance

of his own lane and his signature

cadence.

Skepta’s bluntly descriptive lyrics

pair well with his all-out attack on

any kind of instrumental, while his

subtle flow switches sneak up and

catch you off guard. Skepta also

outshines every one of his guests,

which include Key! and Wizkid, with

ease, proving that while the genre

continues to evolve, Skepta is still

holding court.

Best Track: Redrum

Ben Boddez

32 BEATROUTE JUNE 2019


RICHARD AUCOUN

Releasee

Haven Sounds

FLYING LOTUS

Flamagra

WARP RECORDS

If you’re not smiling by the end of

Nova Scotia beat-blender Rich

Aucoin’s new album, Release, your

face is on too tight.

At times expansive, at others,

exhilarating, Aucoin has crafted an

engaging electro-exploration that

could serve as a soundtrack to

the next Timothée Chalamet film.

You’ll go places that are sometimes

unsettling but ultimately, there’s a

happy, at least, hopeful ending.

Aucoin repurposes 80s synthpop

influences and wraps them

in lush layers of surging sound.

Fellow Haligonian Jenn Grant

helps on vocals and Broken Social

Scene’s Justin Perfoff lends a hand

on drums. Aucoin continues to

deliver on his early promise with

this, his third album. Solid recordings

along with a transcendent live

shows means Aucoin’s glittering

star continues to rise.

In addition to almost ambient,

moody tracks filled with robust

swells and dreamy expanses,

there’s a dance party going on.

There are enough slapping synth

dance beats to satisfy the most

hardcore 80s hair head. By blending

a Niles Rogers’ 70s Chic-disco

groove with synth sounds on The

Other, Aucoin comes closest to

creating a hit track with this danceable

delight. He says, “The Other is

definitely my love letter to Chic”.

Best Track: The Other

Michael Hollett

Interview

FLYING LOTUS

BURNS IT UP

ON FLAMAGRA

Flying Lotus is all about what he

calls the “nerdy details.”

His latest album, Flamagra, and

the upcoming 3D tour that will

accompany it are based around a

tightly-woven series of concepts.

Touching on some of the specific

connections causes him to explode

in excited laughter, as if he’s surprised

anyone else can decipher

his inner workings.

Flying Lotus speaks slowly, as if

distracted by other deep thoughts.

When a subject that excites him

comes up, though, he snaps to

attention, talking a mile a minute

and cracking jokes.

Flamagra is based around the

concept of an eternal flame suddenly

springing up on a hill in Los

Angeles, the project opening and

closing with its crackling, creating

a perfect loop. Lotus says each

track on the album is meant to be

someone’s different experience or

reaction to that fire.

“I always thought that I’d be conflicted,”

he says. “I would love it and

hate it depending on the day.”

Most tracks on the album come

with their own specific and twisted

backstory, despite the often surreal,

playful vocals and humorous

track titles. “Debbie Is Depressed”

seems upbeat on the surface, but

comes from a much deeper place.

“I think of it from the perspective

of the other person who’s not depressed,”

he says. “It’s that person

who, when you’re feeling shitty,

is kind of annoying. They’re like,

‘Sorry your cousin died, everything’s

going to be okay, they’re in a better

place,’ Like, fuck you. You might be

right, but don’t nobody wanna hear

that shit right now. That’s what that

track is.”

“Heroes in a Half Shell,” though,

is about “fuckin’ Ninja Turtles.”

“It’s stupid,” says Flying Lotus in

hysterics. “So stupid.”

The blend of serious topics with

the absurdly humorous brings to

mind the work of Flying Lotus’

close friend and frequent collaborator

Thundercat, a bassist who

assisted on most of Flamagra.

Flying Lotus says the best parts

of the album were born out of the

spontaneity of making music while

“hanging out with your best friend.”

“When we work together, it feels

special,” he says. “Sometimes you

want to play video games, and

sometimes he’s like, ‘Let’s make

some shit,’ and you don’t really have

to say nothing. It’s a beautiful thing.

I don’t have that kind of relationship

with anybody else.”

Lotus and Thundercat had

another frequent collaborator in

common – the late Mac Miller, who

played a big role in shaping the

project long after he was gone. Lotus

dedicated two tracks, including

“Thank U Malcolm,” to Miller.

“His humanity influenced me,” he

says. “Me and Thundercat didn’t

even plan on having time to work

together, and we were like, ‘What

would Mac want us to do? He’d

want us to go super hard on this

music right now.’ So that’s what we

did. We spent days at my house

just locked in.”

The many nights spent together

trying to talk through their pain

gave Lotus the inspiration that he

needed to keep pushing forward.

“In all the sadness, all these

good things started happening,

too. Life started turning around a

bit and I found myself being more

inspired than I had been, and I

owed a lot of that, unfortunately, to

his passing.”

Flying Lotus recorded every feature

but one in his own home studio,

which he says throws people

off at first before the “relaxed

atmosphere” of a home calms

them down and gets them in

a mindset to be their most

creative selves. Sometimes,

they even teach him something

in return.

“You get weird lessons from

people. Like Solange, I’ll never

forget her. She changed my

process in a weird way.”

Lotus explains that Solange

prefers to record with the worst

microphone she can find, in

order to feel more absorbed in

the surrounding instrumentals

while recording her vocals.

As he prepares to embark

on his upcoming 3D tour, Lotus

hopes to immerse his audience

in the complexities of his music

in a similar way.

“This show is a bit more

evolved than the previous ones,”

he says. “I wanted to make

my music a cinematic journey

for people. I’ve always been

interested in connecting my

music to visuals and finding the

best world where they meet

together.”

Best Track: Takashi

Ben Boddez

JUNE 2019 BEATROUTE 33


MUSiC ALBUM REVIEWS

Interview

JESSE DEFLORIO

G N’ R BASSIST SEARCHES FOR

HUMANITY IN AMERICA

DUFF MCKAGAN

Tenderness

UNIVERSAL MUSIC

On the road with Guns N’ Roses

during their Not In This Lifetime

reunion tour, bassist Duff McKagan

felt like he was driving through a

vast landscape of disillusion and

injustice. Donald Trump had just

been elected as the President of

the United States and McKagan

believed he was watching the “land

of the free” become a vista of ruin

and fear.

This is the inspiration behind

McKagan’s acoustically driven solo

release, Tenderness. The title track

suggests the social and cultural

divide being marketed to us is leaning

on humankind’s natural curiosity

for catastrophe. McKagan says we

just need a little tenderness to see

through it and hopes the album can

mend the turmoil caused by this

media-enhanced political divide.

“Before we started this Guns N’

Roses tour something happened

in America where three cable

news networks started acting like

soap operas,” he says. “Everybody

would pick one and watch. People

stopped thinking on their own; I

was sucked into it as well.”

McKagan compares America

to an “obsessed TV show” fuelled

by a commercialized political tugof-war.

“There was no kind of journalistic

responsibility going on, it’s just

pure commercialism. I wrote for the

Seattle Weekly for five years and

there is this journalistic integrity

you try not to harm. I think that

went out the fucking window.”

A self-described student of

history, McKagan claims these distraught

moments happen in cycles

and the storm will pass. He hopes

Tenderness can not only have a

meditative effect on listeners, but

also bring them together.

“When we play shows, it’s a celebration

of our music,” he says. “Nobody

asks who you are voting for; it

doesn’t matter. Everybody is there

to have a good time. It’s a really

uplifting thing. I would start talking

to people, and this ‘divide’ the news

is talking about just wasn’t there.

When there’s a tragedy like a hurricane

or 9/11, it doesn’t matter who

you voted for; everybody has each

other’s backs. That’s when you see

the true identity of this country:

people coming together.”

Johnny Papan

JIM CUDDY

Countrywide Soul

Warner Music Canada

Kicking rocks and turning over fertile

ground, Blue Rodeo frontman

Jim Cuddy returned to his family’s

farm in Southern Ontario to get in

touch with his roots and record his

latest album.

The rustic rural setting provided

a respite from his hectic touring

schedule and the ideal environment

for capturing the authentic

wire-and-wood sound he sought.

Joined in his makeshift studio by

members of The Jim Cuddy Band,

the multi-talented singer/guitarist/

producer began reimaging songs

from his back catalogue through a

stripped-down, yet modern, country

music filter.

Unearthing tracks he felt had

been previously underdeveloped,

Cuddy and company pour liberal

doses of draft beer and wheat

dust over Blue Rodeo numbers like

“Clearer View” and “Draggin’ On.”

Tributes to George Jones and

Glen Campbell rip a page from the

past and lend a high and lonesome

mood with covers of “Almost

Persuaded” and the star-spangled

“Rhinestone Cowboy.” Pretty

western ditties two-step and sway

in time as Cuddy patches up his

sonic scrapbook with a fresh pair

of bootcut tunes, “Glorious Day”

and “Back Here Again.”

It’s the perfect parting glance for

a nostalgic hayride that sets fire to

the barn before riding off into the

sunset. “Shane, come back!”

Best Track: Glorious Day

Christine Leonard

TIM HEIDECKER

What The

Brokenhearted Do...

Jagjaguwar

One of the most satisfying aspects

of comedian — and sometimes

folk singer — Tim Heidecker’s

anti-comedy is figuring out when

to laugh. His punchlines run deep;

it’s often easy to be unsure if a

joke has even been told, as with his

latest indie folk offering, What The

Brokenhearted Do…

The album chronicles the

emotional downfall of a “faux-divorce”

that Heidecker conjured as

a response to internet trolls who

fabricated rumours of his wife

leaving him.

While the pain in the content

might be fictional, the album boasts

a lot of feels that hit just as hard as

any true tale of heartbreak.

Jonathan Rado of Foxygen’s

production of this tragicomic pop

record is solid and Heidecker’s

straight-faced four-on-the-floor

musicianship makes the album

genuine and surprisingly earwormy.

Song titles such as “I’m Not

Good Enough,” “Funeral Shoes,”

and “Life’s Too Long” set the tone

for the lyrics, a self-deprecating

barrage of a man’s lowest lows.

Some of the best music has

emerged from the depths of sorrow

and Heidecker works this in his

favour. With his cringeworthy level

of sincerity and his varied output

as both a comedian and a genuine

songwriter, it’s not clear who is having

the last laugh here, but we’re

still listening.

Best Track: When I Get Up

Austin Taylor

CATE LE BON

Reward

Mexican Summer

On Reward, avant-guitarist Cate Le

Bon’s fifth full-length release, the

clanging and improvisational collaborators

of 2016’s Crab Day are

nowhere to be found, leaving Le

Bon in the basement on her own,

mixing up sideways concoctions

like a scientist chasing an epiphany.

Reward was written during a

year alone in England’s Lake District,

where she contrasted nights

on the piano with mornings in the

garage, applying beginner skills to

carpentry.

Lyrically, Reward explores the

pursuit of rootedness and foundation,

examining its elusiveness

through a lover and the agency

to choose what comprises one’s

space. It pairs well with the image

of Le Bon over hammer and nail,

building out the items of a home.

While recognizably Le Bon,

with regal, Nico-like vocals on

“Here It Comes Again” and wonky

instrumental offshoots on “Mother’s

Mother’s Magazines,” Reward is

softer at the edges than the Le Bon

of past albums Mug Museum and

Crab Day.

“The Light” and “Home To You”

glimmer with the friendliness of

commercial approval, while “Sad

Nudes” and “You Don’t Love Me” lull

the senses with the sweet cool-off

of horns and piano.

Cozy and strange, let’s hope Le

Bon settles into this nook for a little

while longer.

Best Track: Daylight Matters

Sarah Bauer

34 BEATROUTE JUNE 2019


MARISA HOLME

LOCAL ALBUMS

LDUMB

Club Nites

Mint Records

Riff-ridden and hooky

as hell, Dumb’s latest is

also their greatest. The

14 tracks on their Mint

Records sophomore

embodies an art-punk vibe

not far from their indie rock

contemporaries Parquet

Courts or B Boys.

Dispassionate and wry,

the album is a true document

of punk rock in 2019,

with their cynical commentary

on neurosis, slacking

off and drowning in media.

Though the instrumentals

communicate a consistent

tension, dualling guitar

riffs and mean basslines

on tracks like “Cursed”

and “CBC Radio 3” offer

moments of pause and

reflection, showcasing the

dimension and scope of the

young Vancouver band.

Judah Schulte

KIM GRAY

Plastic Dreams

Buzz Records

For their third full-length

offering, Kim Gray put

forward a dreamy commentary

on modern life. A turn

away from their jangly, guitar-driven

back catalogue,

the tracks on Plastic Dream

are defined by the grainy,

Twin Peaks-inspired synths

that hover like distant

sirens over unignorable

rhythms.

Offering confessional,

first person observations,

the lyrics are critical but

never cynical, humorous

but never satirical. Now

part of Toronto’s Buzz

Records family (Dilly Dally,

Fake Palms, HSY), Kim

Gray puts out a smooth collection

of indie rock tunes

that achieve the difficult

victory of feeling timeless

while relating to the time

at hand.

Judah Schulte

REVERED

With Some Amusement

Independent

With Some Amusement is

essentially a perfect title

for the disorienting and

hilarious mixture of genres

that Revered has put together

on their sophomore

project. The prog duo dive

into everything from 80s

synthpop, dramatic piano

balladry, hip-hop beats and

distorted guitars, but it’s all

united by frontman Emmett

Hall’s theatrical, almost

operatic delivery. These

combinations should never

work but somehow they do.

Most of these songs

are straight from the

heart about boredom and

personal failures, but Hall

works them with sarcastic

wit and goofy voices. Revered

is absolute madness

in the best way.

Ben Boddez

WAASH

WAASH EP

Independent

Sometimes it takes years

to find the right sound. With

his new indie-rock project,

WAASH, Andy Bishop

(White Ash Falls, Twin River)

is well on his way. The

self-titled debut EP is about

as mature and polished as

he’s ever been, with five

tracks that vary in pace and

gravity.

It’s a heartfelt stoner-gaze

acid trip that, at

times, harkens to the likes

of Manchester Orchestra

or Band of Horses. The

debut single, “Gaze into my

Shoe,” offers a glimpse into

the psychotropic soundscape

Bishop has only just

begun to concoct, making

WAASH a sound to keep an

ear out for. Brendan Lee

July 6, 8:00PM | Imperial | $28—$38 + fees

From Inuit throat singing to 808-hip-hop beats, join us for an immersive evening of

genre-bending music and diasporic dancefloor beats.

Curated by CBC Reclaimed host Jarrett Martineau, this all-star line-up features:

HUMBLE THE POET • PIQSIQ • HANHAN • SIKH KNOWLEDGE • DAME

VINYL • IMMIGRANT LESSONS • CHIMERIK COLLECTIVE

STRINGS

FOR PEACE

WORLD

PREMIERE

AMJAD ALI KHAN, SHARON ISBIN, AMAAN ALI BANGASH

& AYAAN ALI BANGASH

July 12 , 8:00PM | The Chan Centre for the Performing Arts | $42—$95 + fees

The undisputed living master of the sarod, and one of India’s most celebrated

classical musicians, Amjad Ali Khan takes the Chan Centre stage alongside his

sons. They come together with three-time Grammy Award-winning classical guitarist

Sharon Isbin to make an eloquent and impassioned call for harmony – in music, in

religion, in cultures, and in the world.

TICKETS AVAILABLE AT INDIANSUMMERFEST.CA

FOUNDING PARTNER

MAJOR PARTNERS

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PRESENTED BY

JUNE 2019 BEATROUTE 35


SEBASTIAN BUZZALINO

Live

MUSiC

ORVILLE

PECK

May 23, 2019

Commonwealth (Calgary)

2019 is shaping up to be the

year of yeehaw and anticipation

ran high for Orville Peck.

The masked outlaw’s debut,

Pony, has dominated conversations

this year about what

can and cannot be country

music, but the capacity crowd

at Commonwealth couldn’t

be bothered by splitting hairs.

Instead, under a fringed face

mask and backed by FRIGS,

also from Toronto, Peck held a

spellbound crowd in the palm

of his hands.

From the first melancholic

chords, Peck’s western-influenced

moody vibes toyed with

the idea of what is normative

in country music.

He’s an outspoken proponent

of pushing the edges of

the traditionally conservative

genre to fit into our contemporary

world and, as he flicked

and swayed his way through

his set, Peck busted open

wide spaces for anyone to feel

involved, included and loved.

Openers Bobby Tenderloin

Universe were the perfect

match for Peck. Comprised of

most of The Wet Secrets, the

crammed eight-piece on stage

crooned their way through an

excellent debut set. They were

led by Edmonton mainstay

Paul Arnusch, who continues

to demonstrate the breadth

of his songwriting abilities by

shape-shifting from project

to project. This one’s going

to stick, though: it’s not often

an opening band gets the

reception Bobby Tenderloin

Universe did, and for good

reason. We’re all part of the

universe now.

Sebastian Buzzalino

THORNETTA

DAVIS

May 3, 2019

Engineered Air Theatre

She’s known as the Queen of Detroit Blues,

but Thornetta Davis’ legendary status as a

singer extends beyond the blues. With sparse

backup, accompanied only by a keyboardist

and her husband, James Cornelius Anderson,

playing a set of congas, Davis moved elegantly

through a repertoire of rich soul, jazz and blues

for a delighted capacity crowd of just over 200

squeezed into the intimate Engineered Air Theatre

nestled below Art Commons.

Her distinctive voice soared gospel high on

a clear day, then weaved in and out of intricate

jazz melodies and, of course, was no stranger

to belting out the blues. There’s a strength and

sophistication within her superb diversity that

cultivates contemporary without sacrificing the

primordial flow of the blues.

Davis held court between songs, keeping the

audience primed with a volley of fun, sexual innuendos.

She cracked up the crowd joking, “You

can have my husband, but just don’t mess with

my man. Or I will cut you!” And when introducing

“Wild Women Never Get The Blues,” Davis

said matter-of-factly, “There’s no shame in that

game, I’m from Detroit.”

Brad Simm

ALMA ARTISTS

36 BEATROUTE JUNE 2019


KALI UCHIS &

JORJA SMITH

May 22, 2019

PNE Forum

Kali Uchis and Jorja Smith merged

heaven and hell during their

co-headlining performance at the

PNE Forum.

In an all-black ensemble on a

rotating platform, the LA-based

Columbian diva Uchis performed

an arresting rendition of “Creep”

draped over the stair steps, bathed

in cascading lights and dripping

sweet falsettos.

UK sensation Jorja Smith has

wooed masses with liquid-sex

delivery and keen lyricism; her

2018 debut, Lost & Found, saw her

grappling with love and loss, growing

pains and police brutality.

Despite their irrefutable compatibility,

the difference between

the two singers was night and day;

Uchis possessed a calculated and

mean stage presence, while Smith

fed off of spontaneity. Both thrived

in their own rite and together made

two indispensable halves of an

exquisite whole.

The binding influences were

apparent during the joint encore,

when the she-devil and baby blue

darling covered Destiny’s Child,

Amy Winehouse and Erykah Badu,

ending the night with their duet,

“Tyrant.”

Their holy dynamic, stellar execution

and unapologetic femininity

with just a dash of homoerotic

tension puts Kali and Jorja at the

top of this decade’s must see R&B

shows.

Maryam Azizli

DARROLE PALMER

@grampamauno

@maunomusic

June 22 Winnipeg, MB ACE Art

July 19 Victoria, BC Copper Owl

July 21 Vancouver, BC Red Gate

July 24 Edmonton, AB The Rec Room (South)

July 25-28 Calgary, AB Calgary Folk Festival

REALLY WELL

OUT THIS SUMMER!

JUNE 2019 BEATROUTE 37


TRAVEL

Festival d’été de Québec

CANADA’S LARGEST

OUTDOOR MUSIC FEST

KEEPS IT FRESH

By GLENN ALDERSON

Destination: Quebec City

When: July 4 to 14, 2019

Why: Festival d’été de Québec

O

f all the festival’s worth

fighting for, we’re willing to

bet you’ve never been to

one on an actual battle field.

Unless you’ve been to Quebec

City’s Festival d’été de Québec

(FEQ) infamous for infiltrating the

Capital every summer with bigname

music acts; their main stage

site sprawling across the historic

Plains of Abraham. FEQ is your

chance to get a piece of the action

and battle for awesome site lines

where French and British armies

once battled for Quebec.

While the 10-day spectacle

might be one of the longest running

muli-day, multi-venue music

fests in North America, this year

is shaping up to be one of their

freshest yet.

Founded in 1968, FEQ has been

developing a forward thinking

international programming agenda

over the course of the last decade

to become a monumental gathering

for music fans. Recent years

have hosted acts like Paul McCartney,

the Rolling Stones, Kendrick

Lamar, Lorde, Travis Scott and

Red Hot Chili Peppers.

This year, the only battling will

be between the music tastes

of the diva-worshipping Mariah

Carey fans, the old school punks

who grew up with the Offspring

and Blink-182, the classic rockers

staying out past their bedtime

for Lynryd Skynyrd, and pop

music fans there to catch a

glimpse of Twenty One Pilots

and Yungblud. There’s also a

focus on both emerging acts and

francophone culture with plenty

of programming representing a

diverse cross-section of the music

industry, including Éric Lapointe,

Coeur De Pirate, Salomé Leclerc

and Philippe Brach.

From July 4 to 14 the festival

will be populating some of the

Capital’s biggest music venues,

theatres and nightclubs to roll out

their extensive programming.

With 135,000 transferable

passes sold each year at a reasonable

price ($105/pass) the festival

always sells out.

38 BEATROUTE JUNE 2019


RUN TO THE HILLS

Navigating The Plains Of Abraham

Parallel to all of the action happening downtown, the Plains Of

Abraham are sprawling with a capacity of more than 100,000. The

Rolling Stones pushed those numbers to the max in true Stones

fashion when they took the stage in 2015 and saw attendance peak

at 102,000.

At night,the sea of attendees lights up with everyone wearing the

festival’s signature flashing badges, blinking in unison to the music.

Headliners throughout this year’s 10 days include: Diplo, Kygo,

Logic, A Boogie Wit Da Hoodie, Mariah Carey, Lynryd Skynyrd, Alt-J,

Blink-182, Slipknot, Imagine Dragons and more.

There are plenty of food — and drink — trucks onsite as well as

wandering beer vendors to keep you hydrated.

FEQ is introducing a new venue this year at the Manège militaire

(Québec Armoury) facing the Plains. It will be the festival’s headquarters

with after-parties inside every day after the shows.

INDOOR CONCERTS

Impérial Bell

(252 Rue Saint-Joseph Est)

A historic auditorium located in

the Saint-Roch district, Imperial

Bell boasts great acoustics and an

intimate atmosphere. Catch acts

like: April Wine, Connan Mockasin,

Courtney Barnett, Jean-Michel

Blais and Voivod.

Régiment des Voltigeurs de

Québec

(805 Avenue Wilfrid-Laurier)

The only military building in Canada

recognized as a national historic

site. Built as a gothic revival drill

hall, the Québec Armoury is located

in the heart of Old Québec and

serves as an upscale destination

that’s fully activated during FEQ.

District Saint-Joseph

(240 Rue Saint-Joseph Est)

A collaboration between restaurateur

Louis McNeil and FEQ, District

Saint-Joseph is a unique restaurant

specializing in comfort food that

also doubles as a bar and theatre.

L’ANTI Bar & Spectacles

(251 Rue Dorchester)

Steeped in punk rock nostalgia,

L’Anti is a comfortable mid-sized

live venue in downtown Quebec

City that allows you to get up close

and personal with the performers

like: B.A.R.F., Wesbroom, Gutter

Demons and local black metal

legends Délétère.

Le D’Auteuil

(228 Rue Saint-Joseph Est)

Recently relocated from Old Quebec,

the legendary Le D’Auteuil is

now on St. Joseph Street, bringing

a fresh new vibe for live music to

the bustling Saint-Roch district.

ACCOMODATIONS

CHÂTEAU FRONTENAC

(1 Rue des Carrières)

www.fairmont.com/frontenac-quebec

From $549/night

Easily the fanciest hotel in Québec

CIty, Château Frontenac is the icon

of the city and one of the most

photographed hotels in the world.

Get your selfie sticks ready.

AUBERGE SAINT-ANTOINE

(8 Rue Saint Antoine)

www.saint-antoine.com

From $289/night

A boutique-hotel with tons of

charm in the old port. Beck stayed

here last year and it was likely the

source of inspiration for his catchy

summer anthem, “Wow.”

Poutineville

(735 Rue Saint-Joseph Est)

Poutineville is your one-stop shop

for designer poutine. You can

personalize it however you’d like

but if you’re feeling adventurous we

recommend trying the “Hangover,”

complete with house fries, fresh

curds, cheddar cheese, bacon,

Italian sausage, seasoned ground

beef, 911 sauce, fried egg and BBQ

sauce.

Chez Ashton

(multiple locations)

Chez Ashton is unique to Québec

City; a no-frills fast food environment

with bad lighting but the pou-

HOTEL PUR

(395 Couronne St)

www.hotelpur.com

From $126/night

Located downtown in St-Roch,

PUR boasts affordable rates and an

upscale urban atmosphere. They

also offer a unique thrill-seeking

experience where you can rappel

down from the top of the hotel so

hang on tight.

MONASTÈRE DES AUGUSTINE

(77 Rue des Remparts)

www.monastere.ca

From $80/night

If you’re looking to find god, this

just might be the place to crash. A

monastery and wellness hotel, put

away your phones, zip your lips and

enjoy the sounds of your friends

chewing toast at their meditative

silent breakfasts.

IT’S ALLLL GRAVY (and cheese curds)

Top 3 Poutine Joints In Quebec City

tine is fantastique. Do yourself a

favour and order the Poutine avec

Saucisses, topped with grilled

sausage slices (hot dog weiners!).

There’s one close to the Plains Of

Abraham (640 Grande Allée E)

perfect for first-timers stumbling

home after a full day of music.

Chic Shack

(15 Fort St)

Steps away from the Notre-Dame

de Québec Basilica-Cathedral,

have a post-religious experience

at the Chic Shack with their

excellent house made poutines,

gourmet burgers and milkshakes

in a historical building of its own.

3

MORE THINGS TO SEE

WHILE IN QUEBEC CITY

Île d’Orléans

An island on the St Lawrence River

about five kilometres east of downtown

Quebec City, cross the bridge

to visit local farmers and vineyards.

Cassis Mona & Filles (1225 Chemin

Royal) is a great place to eat, drink

and get an ice cream, all from the

cassis fruit.

Chutes Montmorency

Perfect for a hot summer day, the

chutes offer an outdoor experience

with waterfalls and a zipline.

Experience the Via Ferrata by

clipping into a cable system and

following a scenic circuit across

rock formations alongside the falls.

No outdoor experience necessary.

Old Québec

The best way to experience Quebec

City’s vast history is on your

feet. Grab a café glacé and take a

stroll through Quartier Petit Champlain,

ranked as one of the most

beautiful streets in the world.

Gritty

est un

imbécile

WHERE’S BONHOMME?

Where’s Bonhomme? We think

QC’s mascot is way more badass

than Philly’s Gritty — and much

more useful in a snowball fight!

Sadly, the big guy will be dragging

his perpetually smiley face to China

during FEQ — seriously, dude’s

on tour. But you can always grab

a selfie with his statue outside the

Carnaval’s office (205 Boulevard

des Cedres).

JUNE 2019 BEATROUTE 39


MOViES|T.V.

Jarmusch

Scores

Again

6 CLASSIC JARMUSCH SOUNDTRACK SONGS

Director’s collaborations

with musicians

and his impecable taste

in soundtrack music has

fans salivating for his

new zombie epic

The Dead Don’t Die

By BRENDAN LEE

J

im Jarmusch’s film career

has been eternally intertwined

with a passion

for music. The Ohioborn,

New York Citybred

weirdo stacks his quirky,

dry-humoured arthouse films

with collaborations featuring

some of the biggest names in

music. In his typical fashion, his

upcoming film, The Dead Don’t

Die, out June 14, features

a stacked musical lineup,

including Iggy Pop as a longhaired

zombie, and the likes

of RZA, Tom Waits, Selena

Gomez, and even Sturgill

Simpson himself, all a part of

the blood-thirsty fun.

For those yet-to-be

initiated, it’s nearly impossible

to recall a Jarmusch

film without getting a

song stuck in your head,

so perk your ears, curl

back your lips and take

a fleshy bite out of these

soundtrack highlights

from his decade-spanning

filmography.

1

PERMANENT VACATION [1980]

“Up there in Orbit” – Earl Bostic

Jazz saves lives, man. Aloysious

Parker twist, snaps and jives his

way out of delirium, for a moment,

as the upbeat sax riff takes him

up, up and away from his muddled

Big Apple existence in Jarmusch’s

post film-school-dropout debut.

2

Stranger than Paradise [1984]

“I Put a Spell on You” – Screamin’

Jay Hawkins

There’s no more iconic usage of a

song in a Jarmusch film than this,

and by the third time it played at

the 1984 Cannes Film Festival

and the credits gushed, Jimmy

boy must have been nodding,

smiling, thinking – You’re

mine.

3

Down By Law [1986]

“Jockey Full of Bourbon” – Tom Waits

If you look and listen close, you can

actually pinpoint the emergence of

Jim’s ‘Jarmuschian’ flair as Waits’

steely guitar riff lures us in to the

rear end of a black hearse before

the camera pans left and leads us

on a trip that will last a lifetime.

4

Mystery Train [1989]

“Mystery Train” – Elvis Presley

Well what do you hear, the train

or the bloody sirens? Elvis gets

the film a rollin’ with his patented

southern comfort rock and roll,

sets us up for three different tales

bound by the frayed threads of

Memphis city, the town that made

him King.

5

Coffee and Cigarettes [2003]

“Down on the Street” – The Stooges

Jack White and former White

Stripe bandmate, Meg, mull over

a homemade tesla coil while Iggy

Pop croons above distorted guitars

and a simple bassline on a radio

somewhere hidden behind the

fourth wall. We’re still wondering

how many coffees it took to concoct

this strange hallucination.

6

Broken Flowers [2005]

“Yekermo Sew” – Mulatu Astatke

The kind of music you just know

Bill Murray listens to while driving

around in nondescript black

sunglasses. This smokey Ethiopian

Jazz track speaks of cigarettes

and secrets, and put the genre on

the radar for a lot of film geeks

turned would be hipsters.

40 BEATROUTE JUNE 2019


RE-IMAGINING JOHN AND YOKO

John & Yoko: Above Us Only Sky show’s Ono’s essential role in

imagining Imagine while shining a light on legendary love story

By MICHAEL HOLLETT

W

hen I interviewed Yoko Ono for

the first time, in the office she

once shared with John Lennon

in Manhattan’s gothic Dakota,

it quickly became clear to me

why my favourite Beatle was fascinated by,

and had fallen in love with, this controversial

woman.

Figuring out the legendary and, to some,

perplexing love affair between Ono and Lennon

has been a mystery that has befuddled,

even angered many, and the documentary,

John & Yoko: Above Us Only Sky, now screening

on Netflix, sheds some light on the essence

of their epic connection.

There’s a home movie feel to this film that’s

more like a scrapbook than a traditional documentary.

Lots of candid shots of Lennon and

Ono with family, friends, musicians and hangers

on frolicking on the sprawling Tittenhurst

Park estate outside London. The couple fled

there to escape the pressures of the English

capital and settled in to make one of the greatest

albums ever, Imagine. It’s worth watching

this film just to experience Lennon recording

his achingly confessional, “Jealous Guy.”

The wise woman I experienced that day

in New York City is very evident in the doc

as Lennon leans on her for inspiration, intelligence

and a critical ear. The film makes

clear that a shared commitment to political

activism, especially pacifism, was at the core

of their connection. Lennon and some of the

collaborators interviewed for the film are all

clear that much of the thinking behind the

album and the “imagine” concept came from

Ono – and I’m not surprised.

The film follows the couple to New York

City where they finish the record and edit the

footage that became their somewhat surreal

Imagine movie and yielded much of the material

used for Above Us Only Sky.

This latest look at Lennon and Ono is a

good peak into a great love story. When I got

up to leave that day, after what turned out to

be hours but felt like minutes in Ono’s thrall,

I turned and noticed a huge painting behind

me that almost covered the wall and that Ono

would have been looking at when she wasn’t

setting her engaging and penetrating eyes

on me. It was a beautiful, bright portrait of

Lennon sitting cross-legged on the ground

in Central Park with the couple’s young son

Sean (See story page 19), a toddler at the

time, in his lap, both smiling. She sent me on

my way with a warm goodbye and, of course, I

went up the street to the Park and Strawberry

Fields to pay my respects to John. ,

John & Yoko: Above Us Only Sky is

streaming on Netflix

JUNE 2019 BEATROUTE 41


MOViES|T.V.

IT’S A LITTLE

BIT FUNNY

Rocketman biopic soars high portraying

Elton John’s life story with glitter, glam and

gusto By PAT MULLEN

H

ow wonderful life is when you’re in Rocketman’s world.

This dazzling Elton John biopic should go down as

one of the great film musicals. Directed with inspired

pizzazz by Dexter Fletcher, who completed Bohemian

Rhapsody after Bryan Singer was fired, and played with

fiery perfection by Taron Egerton as Sir Elton, Rocketman soars.

It honours the man and his music with original, enthralling flair.

Egerton performs John’s songs with gusto while capturing his

unique pitch, but the rawness of his vocals gives Rocketman its

edge. This is a portrait of John before he’s confidently found his

voice. Egerton gives a fearlessly committed performance that

one sees too rarely in a studio film.

Comparisons to Bohemian Rhapsody are inevitable, but there

are few reasons to relate the Freddie Mercury flick with Rocketman

since they have little in common beyond Fletcher’s credit

and their award-worthy performances of rock ‘n’ roll icons. As a

film, Rocketman is far more technically accomplished and artistically

adventurous than most contemporary biopics.

Rocketman follows biopic formula by charting John’s journey

from his humble beginnings as Reginald Dwight to his mid-career

success as Elton John. It takes audiences to his home where

the young Reggie pursued music to escape his aloof mother (a

delightfully campy Bryce Dallas Howard) and absent father (a

stoically stiff Steven Mackintosh). John tells his story in retrospect

when he appears at an AA meeting in a bejewelled devil

costume and reflects on his life in a jukebox-style diary of highs

and lows.

Fletcher mixes biopic convention and musical theatricality.

Some songs appear as standard performances as John hones his

craft, but others appear as spectacular numbers that recall Julie

Taymor’s Beatles’ phantasmagoria Across the Universe with their

wildly impressionistic interpretations of rock classics. These sequences

highlight transformative moments in John’s life.

Standout numbers include John’s breakthrough performance

at the Troubadour in Los Angeles where the crowd levitates euphorically

during “Crocodile Rock.” John wrestles with his inner

demons during the feverishly staged “Rocketman” number,

which conveys his struggles with alcoholism and addiction. The

song explodes when he performs at the 1975 concert at Dodger

Stadium and gets off on his biggest high: the stage.

Even the conventional numbers let Rocketman fly as Egerton

develops his character. The film centres on John’s relationship

with collaborator Bernie Taupin (Jamie Bell) as their songwriting

sessions prove therapeutic for John as he heals his family troubles

and embraces his sexuality. Bell is the heart of the film as

Taupin, who is John’s rock and uses the power of music to let his

friend be free. Egerton’s performance of “Your Song” is especially

touching when Taupin presents John with the lyrics after the

singer comes out. Egerton finds John’s voice and Bell offers an

assured nod of unwavering love.

The film admirably depicts John’s sexuality without shying

away. The much-hyped sex scenes between Egerton and a terrific

Richard Madden, playing John’s toxic manager/boyfriend John

Reid, are relatively tame, but revolutionary for a studio film. The

flamboyancy of Fletcher’s film, from its fantastic numbers to its

flashy note-perfect costumes, finds the perfect marriage of subject

and style. Rocketman delivers a song straight from the heart.,

42 BEATROUTE JUNE 2019


06.19

Vancouver

Craft Beer Week:

so much beer,

such tiny glasses

By Jordan Yeager

V

ancouver Craft Beer Week is

a staple in Vancouver’s early

summer events calendar, and

this year they’re celebrating

a 10-year milestone. What has become a

highly anticipated festival started out as a

conversation between a group of friends

who simply loved beer.

“I still find it hard to believe when I hear

‘10 years’ that we’re talking about Vancouver

Craft Beer Week,” says festival director

Leah Heneghan. “The time has seriously

flown by. My first year was a whirlwind of not

really knowing what was happening and trying

to cobble the whole thing together with a

whole lot of guesswork, luck and love, all the

while with a beer in hand. 10 years on, our

festival is a testament to the BC craft beer

community and how fantastic it is.”

That first Beer Week 10 years ago featured

15 breweries and hosted about 100

guests. This year, thousands will sample

over 300 beers and ciders from more than

100 breweries, plus food from vendors like

Bandidas Food Truck, DownLow Chicken

Shack, and Greek on the Street. All of this is

set to a mix of musical acts, including Foxy

Moron, The Spillionaires, Vinyl Ritchie, and

many more.

“We put a lot of thought into curating an

inclusive, diverse lineup of local talent from

across different genres,” says Heneghan. “All

of the artists we have at the festival are from

BC. That’s one of our mandates: keeping it

close to home. There’s so much talent here

and we love showcasing it at every opportunity.”

“When the fest shuts down on that last

Sunday each year, the four of us owners

generally collapse on the grass, breathe a

sigh of relief and grin from ear to ear,” she

says. “Then we drink a whole lot of beer.”

VANCOUVER CRAFT BEER WEEK

PNE Fairgrounds, June 8-9, Tix: $39 single day,

$65 weekend pass: ticketleader.ca/events/vcbw2019

YVR

VANCOUVER’S ESSENTIAL JUNE HAPPENINGS

kJUNE 2019 BEATROUTE 43


KELLI ANNE

06.19YVRMUSIC

Andrew Phelan flips the folk

for friend-filled super-jam

A

ustralian musician Andrew Phelan has

made a name for himself in folk-rock

band The River and The Road, but with

a solo EP on the way, he’s breaking away from

his traditional folk sound.

The new release will incorporate more “big

loud guitar music” around his smooth made-forradio

croon.

“It’s very fun to do, but I’m definitely still a folk

musician at heart,” he says, explaining the solo

work presents things that “weren’t quite folky

enough” for The River and The Road.

And he’s planning on getting wild with his live

show.

“Hopefully by the end of the show there’ll be

more people on stage than off,” says Phelan. “I

want to make people feel inclined to just do what

they want, and if that means jumping up on stage

and singing along with me, more power to them.”

Phelan came to Canada from Australia in

2012, forming The River and The Road and touring

North America extensively. The band landed

some high-profile festival dates at Squamish

Valley Music Festival and last year’s Skookum

Festival in Stanley Park.

“Vancouver, especially musically, is a lot more

home to me now. It’s where all my friends are

and all the musical connections that I identify

more with.”

Expect to see some of those friends on stage

with him. Phelan calls his opening acts, Jasper

Sloan Yip and Sam Lynch, some of his favourite

artists and plans to invite them, as

well as some old bandmates, to jam with

him during his set.

“This will be one of those shows that

I’ve been wanting to put on for a couple

of years. The stars were aligned

and the people I wanted to play with

weren’t super busy, so it’s a total

pleasure to have them. When you’re

at home, you can kind of rally the

troops and play the bigger shows.”

Saturday, June 22 / Biltmore Cabaret /

Tix: $12.50

Corey Hart still hasn’t surrendered

As Justin Bieber teases his return to the spotlight, the original Canadian teen heartthrob

Corey Hart is putting on his sunglasses for one more night to close his tour at Rogers

Arena. Hart is promoting his first new music in 20 years with the upcoming EP Dreaming

Time Again, and is just as dreamy now with his beard and suit jackets as he was in the mid-

80s. Inducted into the Canadian Music Hall of Fame in March, Hart returns to a Vancouver

stage for the first time since 1985. Tuesday, June 25 / Rogers Arena / Tix: $58.95 - $135.80

Music

YVR

Clubland:

top 5 club shows

1

GOLDEN FEATURES

June 7 at Celebrities Nightclub

This man of mystery hails from Australia and performs

with a gold-plated mask. Known for the deepest of deep

house mixes, get ready to be pummeled by rumbling

synth-bass and his complex beat patterns. Part of Celebrities’

Stereotype Fridays.

2

FELIX JAEHN

June 8 at Celebrities Nightclub

While you may only know his name

on this side of the planet from that

inescapable summer hit “Cheerleader,”

the German-born DJ has had

numerous dance hits over in Europe.

Jaehn dropped his first studio album

last year and is now road testing

his easygoing and upbeat tropical

house anthems.

3 KRANIUM

June 8 at Venue

Jamaica’s Kranium has stayed

afloat dropping an endless stream

of singles, but he’ll be previewing

songs from his upcoming full length

project at this show. It’s definitely

going to be a party.

4

NICKY ROMERO

June 15 at Harbour Events

Centre

The global house music sensation

and founder of major EDM record

label Protocol Recordings is here.

Romero will be dropping his famous

remixes, as well as the tracks he

produced for big-name pop stars

like Rihanna and Sia.

5

JAMILA WOODS

June 27 at Biltmore Cabaret

Listening to Jamila Woods’ songs

makes it clear she got her start as

a slam poet, as she takes the same

fiery approach to her politically-charged

music. Woods is the oldsoul

voice you often hear singing

with Chance the Rapper, as well as

a powerful artist in her own right.

44 BEATROUTE JUNE 2019


NEW!

#SummerofSPRITZ


06.19YVRMUSIC

JULY 19 TO 21 2 1 0

9

JERICHO BEACH PARK

BASIA BULAT | THE HAMILTONES

DAVID HIDALGO | LARKIN POE | CORB LUND

REBIRTH BRASS BAND | SAM ROBERTS BAND

CHARLOTTE DAY WILSON

THE AERIALISTS | BLACK STRING | DANNY BOUDREAU BAND | MATTHEW BYRNE

CELEIGH CARDINAL | ANDREW COLLINS TRIO | COPPERHEAD | THE DARDANELLES

DESIREE DAWSON TRIO | STEVE DAWSON | BROTHER TITO DELER

DWAYNE DOPSIE & THE ZYDECO HELLRAISERS | BOBBY DOVE

RAMBLIN’ JACK ELLIOTT | MIKE FARRIS & THE FORTUNATE FEW | LUCA FOGALE

FRONT COUNTRY | AMOS GARRETT & JULIAN KERR | RAINE HAMILTON STRING TRIO

ZAKI IBRAHIM | ILLITERATTY | KIRCHEN, COX & MCRAE | KITTY AND THE ROOSTER

JOEY LANDRETH | LA MEXCALINA | GEORGE LEACH BAND | LE VENT DU NORD

LOCARNO | LONESOME ACE STRINGBAND | LOS PACHAMAMA Y FLOR AMARGO

DON MCGLASHAN | PABLO MENENDEZ & MEZCLA | MIDNIGHT SHINE

IRISH MYTHEN | NAMGAR | TAL NATIONAL | OKTOPUS | MARIN PATENAUDE

THE RAD TRADS | JOHN REISCHMAN AND THE JAYBIRDS | RIIT

PHARIS & JASON ROMERO | LUCY ROSE | ROSIE & THE RIVETERS

SARAH SHOOK & THE DISARMERS | VIVEK SHRAYA/TOO ATTACHED | RUBY & SMITH

SON OF JAMES | NANO STERN TRIO | EMILY TRIGGS

TSATSU STALQAYU (COASTAL WOLF PACK)

| SUNNY WAR

WWW.THEFESTIVAL.BC.CA

Chromeo’s full-band

extravaganza will be epic

C

hromeo have been fuelling

sweaty synth dance parties for

more than a decade and that party

just keeps going. This month

they’re bringing a full band with them to

Vancouver for the first time.

The Montreal-based electro funk duo

continue to deliver nostalgia with expert

technical precision, cramming in complex

funk basslines, horn section breakdowns and

delicious 80s neon synth chords, and they’re

not afraid to laugh at themselves.

Like their funk idols before them, Dave 1

and P-Thugg recorded their latest album with

more live instrumentation up with legends

Lucinda

Williams back

to basics

with Buick 6

Americana legend Lucinda

Williams has been called “America’s

best songwriter” and has

a lifelong discography to back

it up. This month she’s at the

Commodore Ballroom, celebrating

the 20th anniversary of her

iconic album, Car Wheels on a

Gravel Road. She’s playing the

1998 Grammy winning album

in its entirety backed by her

original band, Buick 6.

The album is listed on countless

“Greatest of All Time” lists

and we agree. Don’t miss this

opportunity to check out one of

the masters at work.

Monday, June 24 / Commodore

Ballroom / Tix: $59.50

Rodney Jerkins and Prince guitarist Jesse

Johnson, as well as Dave 1’s brother, iconic

scratch DJ and hip-hop producer A-Trak.

Posters for the Chromeo full band extravaganza

are out of the 80s, promising “ninety

minutes of non-stop funk” with a black-andwhite

pic of the pair and their band tackily superimposed

on a garish orange background.

An endearing combination, the duo deliver

ridiculously cheesy yet undeniably impressive

work you might expect from two guys with a

Twitter bio reading “FUNKLORDZ” who also

have a comprehensive understanding and

genuine love for the genre and its history.

Friday, June 7 / Malkin Bowl / Tix: $42.50

46 BEATROUTE JUNE 2019


TD Vancouver

International

Jazz

Festival

June 21 to

July 1, 2019

Best of the Fest

By YASMINE SHEMESH

S

ince Rainbow Robert took over as

managing director for artistic programming

at the TD Vancouver International

Jazz Festival in 2018, she’s

made it a point to highlight the louder, more unexpected

expressions rooted in jazz.

“It’s protest music,” Robert says. “It’s music

where there’s a free dialogue about what’s going

on in the world. Whether it’s the celebration or

indignation, I think edgy music wakes us up. It’s

something that’s really important to invite and to

enjoy.”

In the defiant spirit of its roots, the jazz

festival, now in its 34th edition, has always

featured artists not afraid to challenge,” to

speak out against injustice, or honestly portray

the realities they live in.

This sentiment rings especially true this year.

Alongside rhythmic jazz innovator Herbie Hancock,

the lineup includes hardcore hip-hop greats

Wu-Tang Clan, the experimental and improvisational

Yonatan Gat and Eastern Medicine

Singers, transgender singer-songwriter

Beverly Glenn-Copeland and

Russell Wallace — the festival’s

2019 Indigenous Artist

in Residence.

“It’s a pretty wild

world that we’re living

in now,” Robert says.

“And I think putting

forward music that really

speaks to that is

particularly important.”

TD Vancouver

International Jazz

Festival / June 21 to

July 1, 2019 /

Various locations /

Tix: coastaljazz.ca

Wu-Tang Clan

Co-founder RZA has always

been open about the iconic New

York hip-hop group’s mission to

open minds. Socially-conscious,

philosophical, gritty and brilliant,

they’re one of the most important

acts of our time.

8 p.m. on June 23 / Queen Elizabeth

Theatre / Tickets from $69.

The Roots

Often referred to as hip-hop’s

first “live band,” The Roots have

redefined the genre over and

over again with their ingenious

mix of freewheeling grooves and

insightful lyrics.

8 p.m. on June 28 / Queen Elizabeth

Theatre / Tickets from $79.

Herbie Hancock

Hancock, a pioneer of the funky

and abstract post-bop jazz, has

made incomparable contributions

to music through more than six

decades of work as a composer,

pianist and bandleader.

8 p.m. on June 29 / Queen Elizabeth

Theatre / Tickets from $69.

Beverly Glenn-Copeland

Whether you know him from

Mr. Dressup, his canon of work

as a folk singer-songwriter and

electronic music pioneer, or his

inspirational life journey as a transgender

man, both Copeland and

his long, diverse career are truly

extraordinary.

8 p.m. on June 25 / Performance

Works / Tickets from $29.

Yonatan Gat and Eastern

Medicine Singers

Gat refused to join his native Israel’s

mandatory military service and

his work with the Algonquin drum

group is just as rebellious. Swirling

Middle Eastern guitar, tribal

rhythm, and confrontational harmony

make for an unforgettable

live performance. Gat was also a

key member of the deranged and

entertaining Monotonix, but this

project is in a league of its own.

7 p.m. on June 30 / David Lam Park

/ Free.

JUNE 2019 BEATROUTE 47


06.19YVRAGENDA

House of Vans comes to Van

YVRAgenda

Vans finally brings their House of Vans to Van and their cultural hub includes skateboarding

clinics for women, zine-making workshops and music from fast-breaking Toronto hip-hop sensations

88Glam.

“We collaborated closely with the local community to bring Vans’ ‘Off The Wall’ spirit to life,”

says Vans representative Alex Auchu. “With an event location right on the harbour and exciting

interactive experiences like our Skate Skool, creative workshops and the street market, House

of Vans provides a platform to highlight and support the thriving creative culture of Vancouver.”

May 30 to June 2 / Harbour Event Centre

YVR Public Discos

For all the dancing queens hiding in the wings, the Public

Disco Laneway series is here to set you free. Laneway

Discos take place in public spaces, showcasing danceable

tunes by emerging artists with curated dance performances.

Laneway Cabaret events occur in venues around town

and will feature live music acts from multiple genres, bookended

with DJ sets. The series aims to bring together the

groups that so often retreat to their own hoods and haunts.

Event founder Nick Collinet says that “activating public

space has proven to be a powerful tool not just for fighting

the city’s ‘no fun’ reputation, but for rethinking the very

definition of public space and what’s possible within it.”

June 1 and July 6 / Alley Oop

88Glam

Vancouver International Guitar Festival

If you’ve got a thing for strings, this is your chance to get in tune

with your people. Instrument exhibitions, master classes, live

music showcases, and workshops with some of the world’s top

luthiers are on the lineup for the third annual guitar-making gig.

June 29 to 30 / Creekside Community Centre

48 BEATROUTE JUNE 2019


Quanah Style

Canada Day Block Party

Red Truck Brewery’s Canada Day Block Party returns to Vancouver for the third

straight year, but this time they’re taking it out of the Waldorf Hotel and straight to the

source itself - the Red Truck Beer Company parking lot.

This year’s event promises an exciting and diverse selection of local music and dance

talent to go along with the festivities. The lineup includes Juno-nominated electropop

duo Humans, Mat the Alien, Quanah Style, I M U R and SO LOKI, and even a performance

from drag troupe Bratpack, who call the iconic gay club Junction their home

every night. In addition to the live performances, attendees can enjoy beverages and

food fresh from the BBQ or one of the many food trucks on site while lounging in a

hot tub. There will also be a bouncy castle and carnival games to celebrate Canada’s

birthday in style.

Sunday, June 30 / Red Truck Brewery / Tix: $20-30, canadadayblockparty.com

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Car Free Day

Stretching out over 21 long city blocks,

Main Street is the largest of Vancouver’s

Car Free Day festivals. Ditch your keys

and hit expanded restaurant patios,

funky artisan boutiques, live music stages

and more at this giant block party

that is guaranteed to make all non-car

owners feel like the righteous environmental

bad asses that they are.

Sunday, June 16 / Main Street(Broadway to 30th)

835 East Hastings ST. Vancouver, BC • 604-251-3411 beermaking.ca

JUNE 2019 BEATROUTE 49


06.19YVRAGENDA

This Month in

Theatre:

Zastrozzi:

The Master of

Discipline

The House of Bernarda Alba

June 12 to 16, Firehall Arts

Upon the death of their father, a group of sisters are

forced against their will into eight years of mourning by

their mother. Emily Mann’s translation takes the classic

by Federico Garcia Lorca from 1900s rural Spain to

modern-day Iran. In Farsi with English subtitles.

Indian Summer Festival

The Indian Summer Festival is

returning for an 11-day multidisciplinary

exhibition of cultures and

conversations from South Asia

and around the world. BeatRoute

spoke to Sirish Rao, the festival’s

artistic director, on his vision for

bringing diverse cultures together

and making a better world through

conversation.

“It’s a festival for the curious

mind,” says Rao. “It’s really about

taking a more global approach to

ideas and culture.”

The theme for this year’s festival

is Tricksters, Magicians and Oracles.

Rao curated a group of thinkers

and artists who contemplate the

world’s trajectory in their work.

“We’re all wondering where

things are going,” he says. “We’ll

have musicians, stand-up comedians,

futurists and people talking

about climate change and artificial

intelligence. We’re looking at a

huge variety of subjects.”

Rao highlights two musical exhibitions

at the festival. Conjuring the

Future is an exhibition of Indigenous

music from a wide variety of

cultures, and Strings for Peace is

a collaboration between masters

of guitar and the Indian sarod. Rao

says these events play heavily into

his theme of unification.

“It seems like human beings

aren’t capable of much except creating

a mess,” Rao says. “But when

you get artists like these and you

feel that energy, you’re reminded

of what we can do when we’re at

our best.”

Rao hopes combining aspects of

Indian culture with other worldwide

ideas will allow categories to

evaporate and the art to flow more

naturally. The festival is welcoming

“a whole bunch of people who may

not necessarily be in the same

place otherwise,” and the conversation

and collaboration on stage

will also be what happens in the

audience.

“Everything is an act of storytelling

somehow,” he says. “We’re just

saying to come along for the ride.

It doesn’t matter if it’s traditional

or contemporary, if it’s music or

dance. There’s something interesting

to see.”

July 4 to 14 / Tix: $20-125 /

indiansummerfest.ca

Zastrozzi: The Master of Discipline

June 13 to 21, The Cultch

A revenge story à la The Count of Monte Cristo —

except the main guy might be going crazy, the guy he’s

set on killing is a religious artist, and instead of killing

him, Zastrozzi decides to make his target commit suicide.

Nice, lighthearted, swashbuckling fun set in Belle

Époque Europe.

Hello and Goodbye

June 27 to July 6, Studio 1398

In 1960 apartheid South Africa, a pair of siblings from

a poor white family see one another for the first time

in years. Memory, feminism and absurdity converge in

this early work by the country’s prolific playwright Athol

Fugard.

Rock of Ages

June 27 to July 6, Metro Theatre

Brace yourselves for big hair and a lot of leather in this

classic jukebox hard rock musical. Set in 1987 Hollywood,

aspiring rocker/busboy Drew falls in love with

aspiring actress/newly-arrived Sherrie. Aspirations and

conjugal bliss are threatened by misunderstandings, a

shady rock star and judgmental politicians.

By Leah Siegel

FLEMISHEYE.COM

‘THE SAME BUT BY DIFFERENT MEANS’

OUT NOW

“He stitches his micro-songs and abbreviated

epics into a sprawling opus that’s as comforting

as it is uncompromising”

PITCHFORK (8/10)

‘NOVEL’ OUT NOW

“N0V3L’s guitar lines are a wonder to behold.”

NME

“The angular riffage and existential

socioeconomic mires of the self-titled debut EP

is post-punk updated for a modern audience.”

BEATROUTE

50 BEATROUTE JUNE 2019


JUNE 2019 BEATROUTE 51


CANADA’S LARGEST INDEPENDENT CONCERT PROMOTER

UPCOMING SHOWS

CHROMATICS

June 6 - Vogue Theatre

FAST ROMANTICS

WITH SPECIAL GUESTS

June 6 - Biltmore Cabaret

LITTLE PEOPLE

WITH SPECIAL GUESTS

June 7 - Biltmore Cabaret

PATTY GRIFFIN

WITH SPECIAL GUESTS

June 16 - Vogue Theatre

JOSH RITTER &

THE ROYAL CITY BAND

June 22 - Vogue Theatre

SLUM VILLAGE

WITH SPECIAL GUESTS

June 25 - Imperial

RODRIGO Y GABRIELA

WITH SPECIAL GUESTS

July 14 - Vogue Theatre

MIYAVI

WITH SPECIAL GUESTS

July 25 - Vogue Theatre

WEYES BLOOD

WITH SPECIAL GUESTS

Aug 14 - Imperial

LIGHTS

WITH SPECIAL GUESTS

Aug 16 - Vogue Theatre

TICKETS ARE AVAILABLE AT MRGCONCERTS.COM

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