Live Review:Jeff Tweedy @ Queen Elizabeth Theatre, Toronto, March 22, 2011

(Photograph: Timothy Turner)

While taking a break from recording the follow-up to the 2009 album, Wilco (The Album), Jeff Tweedy left his bandmates at home and kicked off a solo tour in Toronto on Tuesday for the first of two intimate performances at the Queen Elizabeth Theatre.

With a venue no bigger than a high school auditorium and not a bad seat in the house, Tweedy shyly took the stage almost resembling “The Man in Black” and took a sold-out 1300 capacity venue and made it feel like your living room. He wasted no time strapping on one of the five acoustic guitars surrounding him in a semi-circle, and launched straight into “In A Future Age” to kick-start the evening’s festivities.
Tweedy treated the audience made up of die-hard and devout Wilco fans to a vast variety of favourites and rarities from the Wilco catalogue, as well as a few numbers such as the whistley “Ruling Class” from his work with Loose Fur, and “Wait Up” from his Uncle Tupelo days.

Tweedy has been known for being intolerant with crowds and has had a tendency to show his cranky side in the past, but he was in fine form on Tuesday night displaying his quick-wit and dry humoured stage banter that would make most stand-up comedians jealous, especially when dealing with the mostly obnoxious male fans hollering out in-between songs displaying their man-love for the frontman, all the while handling it like a seasoned pro.

If there’s one thing particularly unique about Wilco and Tweedy solo shows what sets them apart from other bands is that they let their fans help build their set lists night after night, via the band’s website. With that being said, and happy to oblige, he then in turn poked fun at those fans calling them “geeks” who actually take the time to log on and specifically request certain songs for shows. This was his excuse for having mucked up the guitar arrangement on a couple of songs and forgetting lyrics on another, specifically “Poor Places”. But really, no one cared. It made for a good laugh and an incredible opportunity to hear how all these songs were likely originally conceived from their barebones and rarest form. Especial bright spots, “I’m Always In Love”, and the Tweedy penned Mavis Staple track, “You Are Not Alone”.

“Have I ever played solo in Toronto before?”, Tweedy questioned from the stage, as he was immediately reminded from the faithful in front that he had indeed done so back in 2002. “Oooh, the bad old days” wincing with a shudder. Body language alone indicated he may have been reminded of a low-point in time when turmoil and infighting were at its peak within the band (captured and well documented in the film, I Am Trying to Break Your Heart: A Film About Wilco). A few other evening highlights were an unprovoked sing-along of “happy birthday” after Tweedy announced it was his guitar tech Steve’s birthday, as well as announcing he had paid a visit to Toronto’s Sky Blue Sky sandwich shop for a bite to eat, an eatery completely inspired by Wilco and named after their 2007 album of the same name.

After a full set, Tweedy returned for a three song encore, only to leave and return for a second encore to perform “Acuff-Rose”, completely unplugged with no PA. Just a man and his acoustic guitar at the very edge of the stage.

Needless to say, a good night was had by all the Tweedy faithful, as the house lights emerged and a sea of smiles appeared - it pretty much said it all.

4.5 out of 5

In a Future Age
Spiders (Kidsmoke)
Open up Your Mind
I Am Trying to Break Your Heart
One Wing
Muzzle of Bees
Chinese Apple
Via Chicago
Please Be Patient With Me
I’m Always in Love
The Ruling Class
You Are Not Alone
Wait Up
Magazine Called Sunset
Poor Places
Hummingbird

Encore:
Jesus Etc
California Stars
Shot in the Arm

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Acuff-Rose

Album Review: The Joy Formidable - The Big Roar

For just a three-piece ensemble, The Joy Formidable certainly know how to pack a punch sounding larger than they physically appear. This North Wales tandem (now by way of London) clearly draw a heavy influence from the distorted guitar-driven drone, better known as shoegaze.

The Big Roar is the band’s first proper full-length album after having released a handful of singles and an EP, 2009’s EP A Balloon Called Moaning in the past.
The opening track, "Everchanging Spectrum of a Lie", sets the tone perfectly for what to expect on this album – drawn out fuzz and distorted squall eventually building to massive crescendos, all built around cute contagious vocals from front woman Ritzy Bryan.

The Big Roar has many bright spots. I’d defy anyone to listen to singles “Whirring” or “Austere” and not find yourself bouncing with energy within the first 20 seconds of each opening. Both of these songs are unquestionable album highlights, but anyone already familiar with The Joy Formidable before this album’s release have heard it all before. Other than the album’s lead-off track or the very My Bloody Valentine-esque “A Heavy Abacus”, The Big Roar’s definitive moments can already all be found on A Balloon Called Moaning, which some may even say for the better. Aforementioned singles and other tracks have either been expanded or filled out with multi-tracked vocals. More so a matter of being tinkered with and remodeled for the sake of nothing really.

But not all is lost. If you are in need of a new guitar-driven shoegaze fix melded with melody along the lines of a Jesus and Mary Train, or if the distorted fuzz of a Sonic Youth or Slowdive is your thing, than really, look no further than The Big Roar.

2.5 out of 5

Album Review: Beady Eye - Different Gear, Still Speeding

Sibling rivalry finally comes to a head. Big brother takes his ball and goes home. Little brother picks up the pieces, changes the name of the band, and soldiers on. Oasis - Noel Gallagher = Beady Eye.

This 13 song debut, Different Gear, Still Speeding, plays it safe and doesn’t really wander too far off the Oasis beaten path. If anything, it’s a perfect example of just how far Liam Gallagher’s songwriting has propelled over the past decade. With desperately trying to prove that he no longer needs big brother, Noel at the helm, kudos to Liam who has really travelled light years from his first embarrassing penned composition, “Little James”, from the 2000 Oasis album, Standing On The Shoulder Of Giants. To give any idea how far “Our Kid” has come since Little James, anything from Different Gear, Still Speeding sounds like Sgt. Pepper in comparison. Then again, what’s a Gallagher composition without the slightest inkling of influence from the Fab Four?

It’s no secret the influence The Beatles have had on the Gallaghers their entire career. Heck, even Liam went as far to name his first born, Lennon. Those are some big shoes to fill. History always seems to repeats itself and it’s clearly apparent on Different Gear, Still Speeding’s latest single, “The Roller”, casting a reworked Instant Karma vibe, while the grinding ditty of, “Beatles and Stones”, is a lot less subtle. Really, no surprises here.

The album is an admirable effort and does have it’s share of shining moments, but it doesn’t exactly exceed any expectations. The middle of this collection contain more than it’s fair share of filler, but it also has it’s bright spots as well. Stand-out tracks include “Four Letter Word, “Millionaire” and arguably the best and most feel-good track on the album, “The Beat Goes On”. All in all, a significant feat considering the band’s Grand Poobah is no longer at the helm. Noel Gallagher, the ball is officially now in your court.

2.5 out of 5

Album Review: R.E.M. - Collapse Into Now

There are very few acts that can generate enough interest from their fans to be genuinely excited after a 30+ year career for new material. Self-parody is all too familiar for any group that’s been around long enough, to go from spokesperson of a generation to an aging graybeard while trying to remain relevant all the same. Just when some may have felt R.E.M. might have stayed a little too long at the party the past 10 years or more, Collapse Into Now returns to the form which brought the group their early 90’s notoriety which made them a household name.

For their 15th studio effort, Collapse Into Now, was a name suggested by legendary proto-punk poet and admirer of R.E.M. front-man Michael Stipe, Patti Smith, who also contributes backing vocals to a couple of tracks. But, had they instead decided to entitle this new collection of songs “Out of Time pt. II”, they wouldn’t have been too far off with a striking comparison that evident. Peter Buck was even quoted as saying the threesome hasn’t been as excited about an R.E.M. album “in the last 20 years”; the exact amount of time passed since Out of Time was originally released. Coincidence?

The new tracks on Collapse Into Now such as “Überlin” make a perfect companion next to older pieces such as “Losing My Religion” or “Texarcana”, while the new ballad “Oh My Heart” easily compliments the jangly arrangement of Out of Time’s “Half A World Away”. Even the upbeat and quirky “Alligator_Aviator_Autopilot_Antimatter” shows the eccentricity side of the band reflecting back to earlier days with cuts such as “Stand” and “Shiny Happy People”. All enjoyable none the same. Stand out tracks on Collapse reflecting vintage R.E.M. include “It Happened Today” featuring prominent backing vocals from Eddie Vedder, the bouncy first single “Mine Smell Like Honey”, and the infectious and beautifully arranged “Walk It Back”.

R.E.M. has done a 20 year full-circle with this new effort, and unlike the past few releases, there’s very little filler to be found. Multiple listens in this collection are in order, and once again, the trio has found the formula that originally made us stand up and take notice. I’m already predicting Collapse Into Now will show up in many best-of year-end lists.

4 out of 5