Concert Review: Dilly Dally, April 10, Wise Hall

Posted on by Martin Alldred in Concerts | Leave a comment

Dilly Dally

Toronto’s Dilly Dally nearly didn’t make it this far; after the success and touring schedule of their first album Sore, the band very nearly imploded. The second album, Heaven, is all the better for that experience – the darkness and doubt is well balanced with hope, beauty and optimism. Surprisingly, they seem just as busy promoting and touring this album. They played 15 gigs in Europe in early 2019, followed by over 20 dates in a month in North America, not to mention the dozens of gigs in 2018.

The audience are pleased Dilly Dally has made it this far and were up for it from the get go. Opening track “I Feel Free” starts slowly and builds and builds. Lead singer and guitarist Katie Monks expresses pure, raw emotions with her vocals, which have a contradictory combination of sweetness and aggressive screeching. The band are often compared to Pixies and Hole, which, while being a massive complement, is also a bit of an unfair comparison as Monks is a unique singer who is far from being a Black Francis or Courtney Love wannabe. On this evening, she has a Flying V style guitar and is dressed in white with bleached blond hair while bassist Jimmy Tony is wearing a black vest and shortish mini skirt and guitarist Liz Ball is wearing all black; short black dress, short black hair, short black stockings. Drummer Benjamin Reinhartz could have been wearing anything, as everyone’s eyes were fixed on the front three, but mostly on Monks. They sound great and they look great, and it works.

The set was a mix of songs from the first two albums and the audience were as excited by the new album tracks as they were for most songs from the band’s impressive debut, Sore. The venue, Vancouver’s Wise Hall, is dark and intimate – perfect for this gig. The sprung dance floor is great for dancing and the reasonably priced craft beer selection on tap is better than your average music venue. It was far from full though, which was disappointing.

The last song of the set was the intense “Desire”, with the lyrics “I’m coming at you from against the world” feeling apt in these modern times. The crowd chanted ‘one more song’ and promptly got two. Even with the two song encore, the performance lasted less than an hour.

The closing song of the night was “Heaven” and with the opening lyric “I’ve been dead for seven years,” it is not the most optimistic finale. The first verse finishes, “Sleeping with my best friend, it don’t feel like heaven,” which sounds about right. Dilly Dally’s lyrics are honest, truthful and not afraid to tell it like it is. They make such a refreshing change from many of today’s jaunty indie folk bands.

Concert Review: The Antlers, April 8, Opera House

Posted on by Ricky in Concerts | Leave a comment


It’s very hard for me to believe that Hospice, The Antlers epically sad third record, is celebrating its ten year anniversary this year. It only seems like a few years ago when the trio hit the music scene with this album, yet here I was on a damp Monday night revisiting this seminal album from the Brooklyn trio. Time flies/I’m getting old.

Perhaps I’m not the only one getting old – The Antlers, perhaps realizing that their crowd were probably not 20 something indie kids anymore, opted for the super rare seated configuration at the Opera House, giving all of us with sore lower backs a reprieve from having to stand.

More likely, the reason behind the seated venue was due to the nature of the show itself. For the ten year anniversary of Hospice, The Antlers were actually playing a stripped down version of the album. Rather than plying us with a wall of sound and reverb as one would have expected, the trio sat down at the start of the show and played Hospice end to end with just a few instruments.

It was great. With the minimalist approach, the songs relied mostly on the few chords that each song has and Peter Silbermann’s voice. It’s been awhile since I revisited this album but what really caught me this time was how much the Antlers can do with just a few chords. It’s amazing how much a few well played notes can create the mood that the band was going for. This was also a fuckin’ sad album.

Ultimately, the Antlers X-factor is Pete Silberman’s voice. The man’s ability to transition from lows to highs is at the core of the Antlers’ songs and that voice has held up well in the past decade.

For me, my favorite moments were “Sylvia”, “Bear” and “Two”. “Two” is still a devastating song a decade later and not having heard it in a while, I especially respected the amazing word play that goes with that song.

A wonderful night, all in all.

Concert Review: Pixies, Weezer, April 7, Rogers Arena

Posted on by Martin Alldred in Concerts | Leave a comment

Pixies Pic 2

Warning: Weezer fans may be offended by some of the following content.

Before we begin I need to ask a very important question. When will people learn that Pixies don’t support, they headline? On their first ever tour to the UK, they were supporting Throwing Muses. Every night the British audience went crazy for Pixies and were fairly lukewarm towards Throwing Muses. The promoter promptly switched the bill and Pixies headlined the rest of the tour. On their last tour before splitting, Pixies supported U2, an experience so unpleasant that many argue it helped cause the breakup of the band. After they reformed, 11 years later, they played the Old Trafford Cricket Ground in Manchester, supporting Stereophonics. Half the crowd rightly left at the end of the Pixies set, at the ridiculousness of the billing.

When Pixies perform, they don’t talk much, they just belt out song after song after song. There was no banter with the crowd tonight, no fancy set, video projection or any of that jazz, just four people playing short intense Pixies classics – close to two dozen in total. When you have one of the best back catalogues in the music business, this is what the audience want. Hearing Black Francis singing “Ed Is Dead” and stating “You Are The Son of A Mother Fucker” never fails to make me smile, even though Come On Pilgrim was released almost 32 years ago. They played many of the favourites, including “Here Comes Your Man”, “Wave of Mutilation”, “Planet of Sound”, “Vamos” and “Where is my Mind”. Surprisingly for an arena gig, they played a few new songs and didn’t play “Monkey Gone to Heaven” or “Debaser”. “Gigantic” had been dropped from the set list, for obvious reasons, after Kim Deal left the band, but for this tour it was kind of inevitable that it would come back. “Gigantic” was their closing number, Paz did a fantastic job on vocals and the band left the stage, still one of the coolest bands around in their own uncool way.

After Pixies exited, next up were Weezer. Don’t get me wrong, Weezer are very good. Yeah sure, “Buddy Holly” has dated a bit, but “Undone – The Sweater Song”, “Beverly Hills”, “My Name Is Jonas”, “Hashpipe” and the finale track, “Say It Ain’t So”, still sound great. They played all the old hits and they came on to a fun retro Happy Days intro – nobody does charismatic geek quite as well as Rivers Cuomo. Releasing six eponymous albums is quite probably a first, and undoubtedly a great touch. Weezer were good, and the crowd enjoyed themselves, myself included, but it was weird seeing them come on after Pixies, rather than before. It probably wasn’t their fault the promoter got the billing the wrong way round. It’s not the first time someone has made that mistake, and sadly, it most likely won’t be the last.

Footnote: Of course, there have been other examples of true greats performing on the bill before less deserving headliners, we just have to go back to Glastonbury 2005 for the most severe case. After New Order left the Pyramid Stage at Glastonbury a little after 10pm, I assumed the the night was done. When Coldplay came on to headline at 10:50pm, I looked on in horror at the realization that the world was one very messed up place.

Song Of The Day: Marissa Nadler & Stephen Brodsky – Estranged

Posted on by Paul in Song of the Day | Leave a comment

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Photo courtesy of Ebru Yildiz

“When you’re talkin’ to yourself
And nobody’s home
You can fool yourself
You came in this world alone”

These lyrics start off the nearly ten minute epic “Estranged” off of Guns N’ Roses’ 1991 album Use Your Illusion II (to my mind, the superior of the Use Your Illusion albums – don’t @ me).

It’s a fairly bleak lyric that at the time was somewhat overshadowed by the insanity of the track’s video, which featured helicopters, live footage from huge stadiums, Slash rising from the water messiah-like to rip a solo, and Axl swimming with dolphins – basically the height of GNR’s early ’90s ‘they’ll pretty much let us do whatever we want’ excess.

The darkness of those lyrics is at the forefront, however, on the cover of that song featured on Droneflower, the new collaboration between Marissa Nadler and Stephen Brodsky (of Mutoid Man and Cave In fame), with their sombre, haunting version sounding just as epic as the original despite coming in at almost two minutes shorter. Check it out below.

Droneflower is out April 26, 2019 on Sacred Bones Records.