Live Review: Death Cab For Cutie Phoenix Concert Theatre, Toronto May 18, 2011

Photograph: Sarah Rix

There are definitely both pros and cons to seeing a band at the very beginning of a long and gruelling tour. Pros: there’s likely next to no fatigue and the band is full of energy. Cons: many un-ironed kinks are apparent and need to be worked out before a groove is found. Both were clearly evident in Death Cab For Cutie’s gig on Wednesday night as they kicked off a series of small club warm-up shows to promote the forthcoming album Codes and Keys before hitting up amphitheatres and theatres this summer.

Having graduated from “indie darlings” to commercial success thanks to breakout albums Transatlanticism and Plans, seeing a band in a small setting that has progressed to larger venue status is always a special treat. With that being said, tickets for Wednesday’s show were snatched up quicker than one could say Zooey Deschanel.

The foursome hit the stage wasting no time kicking off the evening with a hits laden set starting with the raucous bass driven stalker single, “I Will Possess Your Heart”, followed by familiar favourites “The New Year”, and 2001’s The Photo Album’s “Why You’d Want To Live Here”. It wasn’t until five songs deep before we received a sampling of what’s to come from the forthcoming Codes and Keys, the dude bashing yet melody filled track, “Some Boys”.

With a scattered set list mostly concentrating on the last three albums, it was more than enough to please the faithful that came to hear vintage Death Cab, even if there were quite a few noticeable blips and hiccups along with a subpar soundboard mix. Regardless, no love lost – it was an opening night free pass.
Although some songs sounded tighter than others, evening highlights included the Narrow Stairs single “Cath”, the new and instantly catchy “Underneath The Sycamore” which is easily a forthcoming single, and the Ben Gibbard solo performed, “I Will Follow You Into The Dark”. It was until the very end of the night that we received the massive crescendo building anthem, “Transatlanticism”, a track so huge you’d have to not have a pulse to not feel the electric vibe unison sing along of Come on! It was about as feel-good as it gets.

With a capacity of roughly 1,100, needless to say many were shut-out of the Phoenix on Wednesday night for a are up close and intimate setting. But before disappointment has enough time to set in, Death Cab will be back in just two short months on July 29 at the much larger Molson Canadian Amphitheatre. Surely by then they’ll be a well oiled machine in the fine live form they’re normally known for.


I Will Possess Your Heart
The New Year
Why You'd Want to Live Here
A Movie Script Ending
Some Boys
Doors Unlocked and Open
Company Calls Epilogue
Long Division
Grapevine Fires
Codes and Keys
What Sarah Said
I Will Follow You Into The Dark
You Are a Tourist
Soul Meets Body
Meet Me on the Equinox
Underneath The Sycamore
Cath...
Crooked Teeth
The Sound of Settling

Encore:
Your Bruise
Title and Registration
Photobooth
Transatlanticism

Album Review: Foo Fighters - Wasting Light

Who said rock was dead? According to some, apparently it has. It’s no secret, rock has taken a definite back seat to the dance pop chart hogging Lady Ga Gas and the Katy Perrys of the world as of recent, but if anyone knows how to rock properly, it’s Dave Grohl and co., here to take a stance and show the world that rock is undoubtedly alive and well.

Into year 16 of the band’s existence, Wasting Light is the Foos seventh studio album and arguably their best in well over a decade. Both heavy and melody laden, and not a ballad to be found, Grohl (aka: the nicest guy in rock n roll) has even admitted to feeling like he’s been lumped into the same category as Bon Jovi by the kids these days, but all it really takes is 25 seconds in to lead off track “Bridge Burning” to realize that comparison couldn’t be any further from the truth. Album number seven also marks the first time in 20 years that Dave Grohl, producer Butch Vig, and ex-Nirvana band mate, Krist Novoselic (making a guest bass appearance on “I Should Have Known”) have shared a creative space together since the recording of Nirvana’s Nevermind.
Also staying with the Nirvana connection, Pat Smear, touring guitarist during the band’s latter days, is officially back full-time into the Foo fold after departing in 1997.

No studios, no pro-tools. Wasting Light, appropriately nicknamed “The Garage Album”, was solely recorded in Grohl’s garage using only analog equipment, a process that’s undeniably gone by the way side more or less. A definite rare and tedious recording process in this day and age indeed, but the dirty raucous ferocious balls-to-the-wall sound the Foos were trying to capture with this effort, it really couldn’t have been done any more flawlessly.

It’s quite possible after having rubbed shoulders in the studio and on tour with fellow Them Crooked Vultures band mate, John Paul Jones, for the past few years that Grohl might have been highly influenced by the Led Zeppelin legend’s recording process of yesteryear to take the analog route once the Foo Fighters rejoiced.

This is an album meant to be heard in its entirety oppose to just a patchy collection of scattered singles. Just a number of the stand-out tracks deserving of the 3-fingered rock-on salute include potential future single “Arlandria”; “Dear Rosemary” which contains superb guest vocals from Hüsker Dü frontman and Dave Grohl idol, Bob Mould; and leadoff single “Rope” containing such a killer hook you may actually want to refrain from driving while listening – pedal to the metal will be inevitable.

If Wasting Light isn’t enough for the hardcore faithful and avid fans alike, be sure check out the incredible Foo Fighters rockumentary, Back and Forth as the perfect companion piece. It starts from band’s inception after the implosion of Nirvana and covers every high and low of the band’s career right up to modern day and the recording of Wasting Light. Everything you ever wanted to know about the Foo Fighters is here. Take heed people, the Foo Fighters are back.

4.5 out of 5