Miscellaneous - Ottawa, 11/7/2011...17/7/2011

  by Andrew Carver

published: 20 / 7 / 2011

intro

...wgile in the second week, which ended on a note of turbulence with the collapse of the stage during a thunderstorm, he takes in performances from among others Dana Fuchs, the Dirtbombs, My Morning Jacket, Alyssa Reid, Mother Mother and Jane's Addiction

After taking the Monday off, the second week of Bluesfest began with a couple of local bands, Doll and Slyde, performing. The former, on the Claridge Stage, was enlivened by a stilt worker tottering perilously among the performers, while the latter showed off a youthful appreciation for Rush on the Subway Stage. The main stage gave way to math metallers Protest The Hero, followed by alt rockers Three Days Grace (somewhat peculiar openers for former Creedence Clearwater Revival frontman John Fogerty). Tuesday’s most striking performance was probably from Dana Fuchs whose bluesy rock has spawned an armada of Janis Joplin comparisons. The vibrant power of her music was tempered by two songs being dedicated to a sister and a brother who passed before their time. Apart from a traditional appearance by festival regulars Metric, the day was enlivened by an appearance by young British bluesman Oli Brown, whose hairstyle and sound are escapees from the era of Cream, Free and Nazareth era, meaning his taste in music was last au courant about five years before he was born - at least. Elsewhere, folk combo Trampled By Turtles were getting rave reviews on the Hard Rock Stage. They were followed by the Dirtbombs, who are touring behind ‘Party Store’, an album of Detroit techno covers. Unfortunately the music works better through headphones than on stage, and things were dragging a bit until they started tearing through their classics from albums like ‘Ultraglide In Black’. Anyone taking a brief sojourn to the National Bank Stage would find Winnipeg’s imaginary Cities putting on a lively set of soulful indie rock. The ongoing strength of Ottawa’s blues contingent was demonstrated by the night’s headliners. Buddy Guy was the biggest blues name at the festival, but for the first time he was not on the main stage. Nonetheless he drew a larger crowd than My Morning Jacket, who were. Regardless of which stage the audience was at, they were treated with an incredible show. My Morning Jacket eschewed the fancy backdrops of other bands and put all their energy into a sensational set of tunes from their new album ‘Circular’. The main stage area had a slightly later start time on Thursday because one of the expected acts, Theory of a Deadman, had to pull out. Instead Ottawa’s Murder Plans, tucked away on the Hard Rock Stage, got to show off their tense indie rock - quite reminiscent of the Wedding Present - to a few unoccupied fans. Local performer Al Wood and his band the Woodsmen took a crowd through some traditional harmonica blues. Unfortunately, the festival stuck blues legend John Primer, guitarist for Willie Dixon and Muddy Waters, on the Hard Rock Stage at the same time. Over on the main stage, punk-metal combo Cancer Bats - possibly being exposed to sunlight for the first time - were whipping up the crowd in advance of agit-rockers the Arkells (filling Theory of a Deadman’s slot) and their punkish pals in Billy Talent. For those missing the festival’s usual dose of Cajun music, Rosie Ledet and the Zydeco Playboys filled the bill with some enthusiastic accordion tunes buttressed by some unusually active lead guitar. It was a bit sloppy, perhaps because as Miss Ledet stated “We like your Canadian beer, but it’s a bit stronger than we’re used too ....” Reverend Peyton and his Big Damn Band are in fact a trio (drums and washboard round out the troop), and his pop-eyed old-time Americana comes with a wink and a nudge, but he has some serious guitar chops, as demonstrated by covering ‘Dixie’ and ‘Yankee Doodle Dandy’ simultaneously. While ‘Girls With Guitars’ have been saddled with a name that is either generic or insulting or both, the trio of women involved are all very capable blueswoman. Cassie Taylor has played the festival before, both solo or on bass for her father Otis Taylor, while Bristol blues-rocker Dani Wilde and Kansas City axewoman Samantha Fish both made welcome introductions. Unfortunately the evening’s headliners were a bit of a letdown for most people over 20 (not that Billy Talent is that awful, but the main stage’s ongoing sound problems made them a poor choice for anyone not wanting to be smothered in bass and kick drum). Tim Robbins was given a chance to demonstrate that he is one of those actors who should not be making music a second career on the Hard Rock Stage, while Canadian rockers the Tea Party are mostly of interest to fellow Jim Morrison fans. That left La-33, Bogota salsa champs who brought a dozen people to the stage (or perhaps more ... there was a bit of moving around) for a lively set enlivened by an enthusiastic audience that likely featured the city’s entire population of native Colombians. Friday was a big day with rap fans, featuring sets from both Classified and young upstart Mac Miller. Elsewhere, roots rock dominated. Apart from a headlining set by festival perennials Blue Rodeo (who will apparently enjoy a slot until either they or the festival expire), there were performances by local combo Silver Creek, who bring a 1970s sheen to their country rock, the more alt-flavoured Cuff The Duke, indie folkster Hannah Georgas (playing an underwhelming set), hard country proponent Brock Zeman and New Orleans swamp rocker Jamie McLean, who was accompanied by trombonist Big Sam - both men are veterans of the Dirty Dozen Brass Band. Big Sam later got to warm things up for Mac Miller on The Subway Stage with his Funky Nation, and appeared to win over a number of Miller’s young fans. Actual blues fans could enjoy veteran blues harpist James Harman, who probably won himself a few new fans with his curt dismissal of the stage MC’s inane pre-set chatter. The final weekend kicked off with a set by piano man David Maxwell on the main stage. Maxwell and brass trio the Texas Horns accompany sundry other performers throughout the festival, and this was one of his chances to enjoy the spotlight. Local dance rock powerhouse New Teeth got to hold forth on the Hard Rock Stage to a small, early afternoon crowd. Shortly after, Toronto’s the Beauties put on a high energy set of roots rock on the National Bank Stage. Locals the Brothers Chaffey gave them a run for their money over the hill on the Hard Rock Stage. ‘Psychedelic folk’ band Final Flash band have been enjoying a fair amount of critical acclaim of late, which may explain their stand on the main stage, nut their set seemed less than lively. Australian ska combo the Resignators put on a ramshackle show on the Subway Stage as well, but they at least had the excuse of a very long drive from Winnipeg to explain any lack of coordination. By comparison, swinging blues band the Twisters played a very tight set, despite baking in the hot sun in their dark suits. Finally, as the afternoon turned to the evening, Sheryl Crow’s onetime guitarist Todd Wolfe put on a solid set of power trio rock. It was to be the last bit of interesting music for a while, unless one’s taste ran to saccharine subcontinental pop, music contest winner soul-lite or one of the Jonas Brothers (in this case, Nick). Back on the main stage, the Honey Island Swamp Band were playing some fairly conventional blues rock, despite their name and New Orleans origins. Things picked up with Braids on The Subway Stage. The band’s latest release, ‘Native Speaker’ has been attracting a lot of attention, and though the band’s electronic art rock doesn’t readily translate to the stage they made a fair go at it. Locals Amos The Transparent expanded their roster for a rambunctious set on the National Bank Stage. One of the festival’s biggest hits has been one-man didjeridoo performer Xavier Rudd; he wasn’t available this year, but organizers might have felt they had another good thing going with Ganga Giri. Augmenting his sound with a dancehall toaster and some African thumb piano (among other world music sounds) added up to some heavy and entertaining rhythms. Former Big Chief singer Thornetta Davis made a good showing on the Hard Rock Stage, but her turn toward a more conventional R&B doesn’t have the same appeal of her earlier funkier stuff. Nicole Atkins with her band the Black Sea isn't reinventing her musical genre - 1970s singer-songwriter a la Stevie Nicks - but she has a secret weapon in guitarist Irina Yalkowsky whose slide guitar does a very plausible impression of a jet plane taking off. Less interesting were cash-in sets from Death From Above 1979 and the widely acclaimed harmony folk of Mother Mother. Jane’s Addiction have also reformed and went to great lengths to earn their money with an eyebleeding light show and a pair of lascivious dancers who were either demonstrating light bondage or proper skiing technique ( it was a little hard to tell with the lights going on and off). Sunday was shaping up to be another hot one. Local singer-songwriter Amanda Rheaume, was glad to make a festival appearance without it raining on her crowd. Canada’s youngest band, the Dube Brothers, have been indefatigable fundraisers for Haiti, usual camping outside the gates and playing for passersby. After last year, when members of Arcade Fire (also big Haiti boosters) dropped in, their profile was raised high enough for the preteens to get a midday slot on the Subway Stage. Meanwhile, Ottawan Ben Cooper was dishing out some tasty melodic rock on the Hard Rock Stage. Mama Kin was the first non-local act on stage. Hailing from Australia, she has a jazzy, soulful style with piano and percussion providing some minimalist accompaniment to good effect. Philly Moves, an Ottawa hip-hop duo, performed an entertaining set on the Subway Stage, frequently razzing the audience, which seemed to be largely filled with friends and acquaintances. One of the best sets of the festival was provided by the Court Yard Hounds, the two sisters from the Dixie Chicks who have struck out on their own. They drew a surprisingly small audience for a pair acclaimed for both their songwriting and instrumental skills, but wowed the folks who showed up anyway. One of the festival's more compelling finds was Tristen, a Nashville performer who has been compared to folks like Neko Case. Her pop music manages to be both adorable and threatening, with the pixie-ish singer trilling on about buying drugs and murder. Cheap Trick was up on the main stage next, and the seasoned combo was knocking out one hit after another when suddenly the sky started to turn black. When the band rolled out ‘I Want You To Want Me’, a sudden gust of air blew dried grass in the air. Thunder in the distance and the odd drop of rain made it clear that the stage would have to be shut down until the lightning threat passed. Mother Nature had other ideas - no sooner had Cheap Trick left the stage then another gust shook the stage, then crushed it, causing part of the roof to fall backwards. The audience bolted for the exits, and that was Bluesfest for another year. Sudden conclusion aside, it wasn’t one of the festival’s best years, and there was more than one complaint about sound quality (particularly on the main stage), but still, it provided a cornucopia of bands to see and discover.

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