Buzzcocks, the Bolton, England band regarded as an important force to Manchester’s music scene during the 70’s and 80’s, hit the stage at Toronto’s Opera House on Wednesday night. Despite being in their mid fifties, front man Pete Shelley and lead guitarist Steve Diggle performed an energy-packed and near gapless set of songs from their first two records, Another Music In A Different Kitchen (1978) and Love Bites (1978) supported by Chris Remmington on bass guitar and a very impressive Danny Farrant on drums.
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It was only during Josh Ritter’s encore at the Town Hall in New York City on Thursday night that he sang, “I’m singing for the love of it/ Have mercy on the man who sings to be adored.” That Ritter wears his earnestness and exuberance on his sleeve are just part of his charm—the rest is entirely musical. But, together, these two characteristics always make him sound like he’s playing his first national headlining tour, showing as much, if not more, excitement than his fans.
Phantogram has done a great job of impressing me over the past few months. Coming off the hype generating album, Eyelid Movies, my expectations of their live performance were quite high. And not only was their album fantastic and talked about on every music blog, but their New York City show had been sold out for the past few weeks now. Not bad for a duo out of tiny Saratoga Springs, New York.
Nearly 30 years after his passing, Bill Evans’ monumental contributions to jazz were recited, remembered and celebrated with the help of Bill Charlap, an avuncular Jim Hall, and the Jazz at Lincoln Center Orchestra—sans their leader, Winton Marsalis.
The Rose Theater resonated Evans’ distinctly impressionistic compositions, seeming to exhale with each new phrase during the opening arrangement of “Waltz for Debby”. The tune began with Charlap solo, before the entire JLCO joined in, immediately giving the piece an atypical robustness. The modular loges that are stacked around the stage, with lights exposing the innards of Frederick P. Rose Hall behind them, became canvases for varying light patterns throughout the nearly two-hour-long program.
Trying to appropriately express to someone who has never seen a world class DJ spin for a packed dance floor and how it gets your adrenaline pumping as much as a live rock performance does, can be tricky. It could be that most people who listen to rock music, seldom have progressive house, trance and other related electronic genres in their music collection. There are also those who don’t even consider DJs musicians, even if they create their own original music as well as mix it with others. But after seeing the performance Kaskade put on Friday night at This Is London in Toronto, I would be surprised if even the most skeptical listener wasn’t affected by the atmosphere he creates.
// Notes from the Road
"McCartney welcomed Bruce Springsteen and Steven Van Zandt out for a song at Madison Square Garden.READ the article