Monday, 24 February 2014

4YE Cross Post: Look who's becoming a Suffragette! What IS a Suffragette?

This piece was originally written for and posted at 4YENews on February 21, 2014. The always insightful Clare Sidoti edited and co-wrote this.

Meryl Streep
Photo courtesy of Frank Micelotta/Invision/AP
Meryl Streep has obviously impressed the producers of the Ruby Films period drama, Suffragette with her rant last month at the National Board of Review awards when she called Walt Disney a "gender bigot" when presenting Emma Thompson an award for her work in Saving Mr Banks. During the presentation she railed against Disney and declared that Thompson was "a rabid, man eating feminist, like I am". It's that man eating feminism no doubt that has endeared her to the producers as she's in final talks to appear as Emmeline Pankhurst in the upcoming film starring Carey Mulligan, alongside other notable actors such as Helena Bonham Carter, Ben Whishaw, Romola Garai, and Samuel West, according to ScreenDaily.

Though only slated to play a minor role in the film, it is a vital role in which she is said to deliver a "'tour de force' speech on women’s rights during a political rally".

Abi Morgan, who wrote The Iron Lady (in which Streep played the former British PM Margaret Thatcher and earned her another Academy Award), is also writing this film’s script. Sarah Gavron has signed on to direct and shooting will begin in the UK next week.

So who was Emmeline Pankhurst and why is she so important? If you are a woman and live in the UK, the freedoms and rights you have under the law, are a direct result of her efforts. If you are a woman and you live in Canada, the freedoms and rights you have under the law, are a direct result of her efforts. If you are woman and live in the USA, the freedoms and rights you have under the law can be attributed to an entirely different set of heroes. Bear with me as I backtrack a bit.
Person_Emmeline-Pankhurst-sufragette-who-fought-for-the-right-for-women-to-vote-1916136
Photo courtesy of The Mirror
Born Emmeline Goulden in 1858, she was raised by politically active parents. During the 19th century, England had a number of Reform Acts pass through Parliament, and the big ones had to do with the vote. If you’ve ever heard the term ‘rotten boroughs’, the Reform Act of 1832 sought to eliminate irregularities of voting. In a nutshell, in order to have the vote (= suffrage), you had to own land. If you owned land in more than one area, you had a vote in all of those areas. Further, although there had been some discussion about including women in the Reform Act, the law specifically had wording about enfranchising “male persons”, which literally disenfranchised women. And how many more men got the vote? Well, Wiki (source of all knowledge) says approximately 500,000 adult men had the vote before the Act became law. Afterwards, ca. 813,000. That’s 1 in 6 adult men with the vote. Total population at the time: 12 million.

The Reform Act of 1867 resulted in approximately doubling those numbers in the electorate. In broad strokes, professionals and men with regular (minimum) incomes now had the vote; also, men with over 50 pounds in savings now had the vote. Although there was a movement for universal suffrage, the priorities of various organisations were to get all men the vote, not necessarily all citizens. In 1870, 1886, and 1897, suffrage bills were put before the House, but were never passed. The goal for all men to get the vote was achieved in 1918. Women were included in that one, but only those over the age of 30 and with further strings attached: a woman had to be married to someone registered with the local government authority or had to be registered herself, be a property owner, or be a university graduate. A separate woman’s suffrage bill went before the House in 1905; it was filibustered.

In the UK, equal voting rights were not granted to women until 1928. In Canada (except Quebec), equal voting rights were granted in 1920. Women in Quebec waited until 1940. People of First Nations descent had to wait until 1960, but that’s a whole other topic of discussion. In the USA, the magic number for women was also 1920. Yes, women have had the vote in the UK, USA, and Canada, for fewer than 100 years.

To be clear, Emmeline Pankhurst did not initiate the movement for women's suffrage, but she (with her daughters Christabel and Sylvia, and many, MANY more) was instrumental in gaining significant ground for the movement in England. Why? One reason was so they could affect social justice such as protecting the poor, the elderly, orphans, widows, improve conditions in workhouses, improve education and access to it - the many demographics dependent on the public purse for their well being - and shape future social policy on a political level.

Pankhurst founded the Women’s Franchise League in 1889, but it only lasted a year. She founded the WSPU (Women’s Social and Political Union) in 1903. They worked tirelessly and their methods were non violent in the beginning, attending and conducting meetings, dialogues with politicians, pamphleteering, standing on street corners. She and her sisters in the movement endured social ostracisation, public humiliation, imprisonment, physical violence, force feeding (as a way to counter hunger strikes), and Emily Wilding Davison publicly committed suicide in 1913 by stepping onto the racecourse at Epsom mid-race. WSPU methods would later include advocating arson and damage to property, such as breaking windows.

For the vote. Something many of us take for granted. In a time when voter turnouts for federal elections are in the 60% range and municipal elections in Vancouver, for instance, are in the 30-35% range (in Toronto, Canada’s most populous city, that number was 53% in their last municipal election).

Ironically, women (certainly not all) were allowed to stand as candidates for election before they even got the vote. The first woman elected mayor was a medical doctor by the name of Elizabeth Garrett Anderson who became mayor of Aldeburgh, Suffolk in 1908. Emmeline also stood for election and was in the process of campaigning for a seat when she fell ill and died on June 14, 1928. On July 2, 1928, Royal Assent for the Act enfranchising women (Representation of the People Act 1928) became law. Emmeline Pankhurst never saw the victory.

In 1999, Time magazine included Emmeline Pankhurst in their list of the 100 Most Important People of the 20th Century. In 2002, the BBC conducted a poll on the 100 Greatest Britons. Emmeline Pankhurst ranked 27th.

The WSPU motto was Deeds Not Words. That is the badge I wear.
Suffragette emblem and motto
Suffragette emblem and motto

Sunday, 16 February 2014

4YE Cross Post: Neil Gaiman's American Gods may be coming to a TV near you


As my blog is supposed to be the central place for all I write to appear, here's a piece I did for 4YE News on February 4. You can view it and many more interesting articles by a host of talented contributors at this link.

It’s funny how stories stay with you long after you’ve read them. It was 2007, and I was on a beach in Costa Rica volunteering at a turtle sanctuary (long story) with some downtime between shifts. The camp had a collection of books previous volunteers had left behind...and American Gods by Neil Gaiman was one of them. I read it in mere days – it was thoroughly engrossing. The idea of Old Gods (from various cultural mythologies) versus the New Gods (representing the internet, computers, media) seemed especially poignant in that place, at that time. These gods existed in America (USA, to be exact) because people believed in them. It was that simple, but the novel itself was anything but. Never mind that this book was also the Best Novel winner in 2002 at the Hugo Awards, Nebula Awards, Locus, as well as Bram Stoker awards – this is a proper GOOD book. Even if I thought the sex scenes served no purpose other than narrative punctuation, but I digress.

Fast forward almost 7 years to the recent announcement by Neil Gaiman himself (and Deadline) that Fremantle Media (North America division) have acquired the rights to adapt this story into a television series. More good news, Escapist Magazine reports that Gaiman will also serve as executive producer on the show. Perhaps Fremantle will have more success bringing this project to fruition than HBO did. For fans of Gaiman’s Anansi Boys, that one’s rights have been snapped up by RED who plan to make a TV mini-series of it for the BBC. And if and when they come to a TV screen near me, I’ll be a-watchin’! 

Photo from http://en.wikipedia.org/wiki/American_Gods 

Biffy Clyro - The Commodore Ballroom - Saturday, February 8, 2014


This review was written for and first published by www.concertaddicts.com. You can read the review on their website by following this link. Photos, including the one below, are by Jamie Taylor.

The evening’s opening act, Morning Parade, began promptly at half past 9. This was their first time in Vancouver (it was a chilly February evening, but at least it was dry out). The first song was introduced as Headlights and I rather liked it. Their sound has a nice mix of guitar-centric structure with an appreciation for the change in dynamics keyboards can bring to the equation. They are a 5-piece of 2 guitarists, bass, drums, and a keyboardist who also mans the MacBook. They are in the pop/rock vein for sure – not terribly unique in their brand of music, but they do a good job all around. Further, their songs are listenable, danceable, and songs like Headlines are definitely remixable for the club scene. The participation of the crowd waned the further away you got from the stage, but Morning Parade garnered good applause after every song, and I saw many a foot tapping or a head nodding along to the band’s nine-song, 40-minute set. I liked how dynamic the bass line was in Sharing Cigarettes. After about 7 songs, they seemed to properly get going, and it was Under the Stars that seemed to do it. It was introduced as their first ever single, which, quite frankly, sounded impressive and was accompanied by a light show and electronica beats. If that’s what they were doing in 2011, no wonder they got signed. All told, well done for them – they looked very comfortable performing and at the microphone. What surprised me was where they were from: Essex. I’ve heard a fair bit of Essex in my time, and if you’ve ever heard Alan Davies, Jessie J, Russell Tovey, Russell Brand talk, so have you. Talk about getting out – you’re well on your way.

And then we have ‘the Biffy’. The whistles really started to get loud at about quarter to 11, as did the Sister Sledge song We are Family. Showtime! I knew this was the song Biffy Clyro comes on stage to, there was more of it than I would’ve thought (about ¾ of it) before the band were on the stage and at their instruments. The first song was Different People, the lead-off track on the CD currently being toured, Opposites, one of my personal favourite releases of 2013. Biffy Clyro make it visually easy for the newbies: they are a three-piece and perform shirtless, but tour as a four-piece (those extra guitars have to come from somewhere, and they come from the only person with clothing on his upper body). The song was fully rocked out, amped up, and perhaps a fraction faster. By contrast, a bearded Simon Neil’s vocals sounded almost identical to the studio version, not strained, even gentle at times. That all was contrasted with a furious rendition, and lyrically virtually unintelligible, of That Golden Rule which followed. I was amazed at the speed and hard rock edge of the guitars on this one, seriously would not have been out of place at a Pantera show. After the bridge when songs tend to wind down, Biffy Clyro naturally, provide a proper headbanger and jump-tastic finish right through to the end. For Who’s Got A Match the audience sings along full voice to the chorus.

Sounds like Balloons, one of my favourite songs from Opposites came next –the additional power and energy of a live performance made this song come alive, and it was kind of awesome, I’d say. Biblical was next and it was another one the audience really enjoyed – arms were raised high, swinging side-to-side for the anthemic whoa-oh-ohs. As ‘magical’ and ‘wonderful’ as any fan might have wished.

God & Satan was introduced next, with perhaps a Machiavellian flavour to it. The crowd loved it and sang along from the beginning until around the second verse or so when the instrumentation kicked things up a bit and the audience shifted focus. I didn’t know the next song, turns out it was Glitter and Trauma from the 2004 release Infinity Land and I loved the time changes in this one as well as the changes in dynamics. The screeching at the end, not so much, but that’s just my preference. Bubbles gave the audience a great opportunity to jump along to. In a way, this one epitomises the Biffy Clyro style and structure of music in my eyes (well, ears, actually), as they tend to not do ‘predictable’. I really enjoyed the syncopation into the end of the song and afterwards, the band received the loudest applause of the night (so far).
 
Spanish Riddle – ah, the impossible time signature. I cannot figure it out and it’s just another reason to love it. I’m also pretty sure the audience would agree with me. The screeching in the repeated chorus, again, not my favourite, but there the audience would likely disagree.

The Rain – a gorgeous song, performed acoustically, which, in Vancouver terms means people talk, a lot, and loudly. There was a bit of rhythmic clapping from the fans near the front, but not enough to drown out the chatter all around me. This lack of respect always irks me, and I’m sure this is not the last time I’ll have to mention it. So what if it’s not a loud song with searing riffs? There’s still an artist you supposedly like up there, so why not extend him/them the courtesy of shutting up so you can get your money’s worth on a show?

Living is a Problem because Everything Dies – has a lovely piano keyboard intro and then spotlights were timed to the percussion and guitar staccato notes. A great way to give the audience more of a show. I couldn’t make out much of the lyrics but rhythmically and instrumentally, this was a truly great song. Fake ending – probably a full 5-second rest before the song picked up again but it was 57 instead – a very hard rock intro, quieter verses, full on, alt-rock chorus. To some degree, it has echoes of a Nirvana flavour. And the screams of appreciation afterwards lasted longer than the applause did.

Many of Horror has a special place in my heart. This was the first song I ever heard by Biffy Clyro, before I knew who they were or anything, but they already had me. As they had the audience; the first time the chorus came around, they sang it solo, and the band ‘helped out’ on the others. The arms were up were the non-verbal oh-oh-ohs. I couldn’t help getting the sense of an ending as the song ended, but the band weren’t done yet. Modern Magic Formula proved that – as energetic and with breakneck speed as if they hadn’t already been on stage for the better part of an hour. Singer, guitarist, chief songwriter Simon Neil told the audience that it had been 5 weeks since their last performance, one of the longest performance breaks they’ve had and offered a quasi-disclaimer: “Sorry if we’re shit. If not, you’re welcome.”

Time for Black Chandelier. This was completely in line with the rock-focus of the majority of the set. At this point, they must’ve not had a choice because Neil’s voice was starting to show the odd crack, but he made the most of consonants, over-enunciating a number of them over the course of the song - relaxxx.  

For people who only know Black Chandelier, this show must have been a bit of a shock. If they’d bought Opposites, they would’ve gotten an inkling as to how more into the rock genre, proper hard rock, this band can get. I would estimate the first 1/3 to first ½ of the floor were there for the full Biffy Clyro experience. In volume alone, they beat the average 4-piece by a great many decibels and stylistically they provide a bit of a mind-opening experience because they can only be defined and pigeonholed so much.

Right, enough with the gushing. Woo Woo had a few cases of feedback in the early part of the song. Some great syncopation and tempo changes – a bit Tool-like, in a way. It’s short when compared to other songs this evening, but the audience was very appreciative. It was the same with The Captain – fist punches for the woohs and loud singing along for the chorus. Actually, there was a lot of singing along, full stop. Nice hard rock finish, triple forte on the power chords, and the band left the stage while the amps were still processing the reverb at just gone midnight.

The assembled didn’t have long to wait, Biffy Clyro were back within 2 minutes or so and the first song of the encore was Opposite. It was virtually identical to the album cut, and it was more than perfect. If you want devastating lyrics, you don’t have to look much further than this song. To bring an end to any potential sadness, Stingin’ Belle was next and I really miss the bagpipes for this one. One of the guitars did play the part so it wasn’t absent altogether. However, during the parts that Simon Neil isn’t singing, I was blown away by how insane Ben Johnston’s drum part is for this song. He doesn’t generally have a low-key time of it, but for this one, the words tour de force definitely came to mind.

Before and after the final song, Mountain, Simon Neil extended his thanks to everyone for coming, very very very very very very much. He had said earlier that Vancouver was a special place for the band and that they always enjoyed their time here. It was only later that I figured out they had recorded Puzzle here in 2006. Despite any ironic dancing and the chatterboxes, I hope this was the kind of “welcome back” they were hoping for.

Sadly for the audience, after 20 songs, this hold-on-to-your-toques sonic barrage came to an end at just past quarter past midnight.

Setlist:
Different People
That Golden Rule
Who's Got a Match?
Sounds Like Balloons
Biblical
God & Satan
Glitter and Trauma
Bubbles
Spanish Radio
The Rain
Living Is a Problem Because Everything Dies
57
Many of Horror
Modern Magic Formula
Black Chandelier
Woo Woo
The Captain


Encore:
Opposite
Stingin' Belle
Mountains

Launch of "Music Mondays" at 4YE: Monday, February 3, 2014

A collection of likeminded pop culture enthusiasts I 'met' through my association with Popwrapped.com have created what they hope will be a digital empire (well, not really, but they wouldn't mind success and recognition) in 4 Your Excitement (to be found at www.4YE.co.uk) and a few days after it launched, I contributed the piece below (which you can also find here).

Hello readers! Welcome to the inaugural Music Mondays! What I want to do with this column is introduce you to interesting stuff, or, if it’s already familiar, perhaps explore something new with it, whether it’s an album, a video, or a stand-alone song.

For my first contribution, I thought the video to "We’re All In This Together" by Sam Roberts Band would be a cool selection. First the song: I LOVE the guitar part that Montreal’s Sam Roberts put together for this. Sonically, the way that wonderful riff just dances is memorable. It’s the earworm part of the song that stays with you long after the song has ended. Since it was released in October of 2013, it’s gained some decent traction on modern rock/pop music stations.

For the video, the band did something more, or rather, something less – and it’s so much more than a performance video in my eyes, because it gives the viewer and music fan more of an insight into the recording process; by making it ‘homestyle’ (and if your screen is big enough), you get a sense of being not just front and centre, but also in the thick of things during a band meeting. It’s intimate and it’s a little educational as well: you get some of the instrumentals isolated for a spell, plus, you hear the tracks as the engineer does  – but only for the first half. After the bridge the feel is much more trippy (as suggested by the band earlier in the video) and you get more of a sense that it’s a produced performance video, rather than the off-the-cuff, fly-on-the-wall quasi-documentary performance we started out with.

On a lyrical level, I completely identified with “tongue tied a fire inside, caught like a deer in the headlights.” We’ve all been there, right? It’s not just me? Thankfully, Sam’s got a solution “keep moving don't stop, keep moving just go, go, go.” Not away from it, but also not frozen in place, like a really bad case of stagefright when your mind goes completely blank. I interpret it as working through it, using your words, even if they make absolutely no sense. I need to remember that.

The song "We’re All In This Together" is the lead-off single for the upcoming CD Lo-Fantasy, to be released on Tuesday, February 11 domestically and internationally. It is the 5th studio album for the band, after 2011’s Collider.

Want to see what I've been talking about? Check out the video for yourself via the SamRobertsVEVO channel: http://www.youtube.com/watch?v=VojforS6qFM

Image from:
http://www.kt8merch.com/store/pages/22160/_PRE_ORDER_-_AUTOGRAPHED_Sam_Roberts_Band_-Lo_Fantasy-_Double_Gatefold_White_Vinyl_LP.htm

Sunday, 8 December 2013

Zerbin - Media Club - Thursday, December 5, 2013

This review was written for and first published by Concert Addicts. Photos, including the ones below, were taken at Lucky Bar on March 26, 2013 and are copyright of Lindsey Blane.

It was a dark and chilly night in early December. Vancouver doesn’t normally see temperatures in the minus 8-10 (Celsius) range, so perhaps people elected not to venture out. Their loss, the Media Club was nice and toasty, and the music was pretty sweet as well.

Skye Wallace started the crowd of 50ish people off. She has a different ‘take’ on the usual singer/songwriter ensemble. Accompanied by a violin and a cello, they provided a really pleasant sound, not veering into country or Celtic stylistically, staying nicely in that ‘folk’ or ‘indie folk’ range of song-type. CBC would LOVE her! Skye is very likable and comfortable on the microphone talking to the audience in an easy conversational manner and showed good vocal control throughout. Her high notes tend towards sounding tight, not shrill, but not embracing them either. The people on the dance floor were definitely interested – she had their full attention. The folks on the sides, on benches and at tables, not so much. Their conversations continued pretty much unabated, which was unfortunate. She has a lovely voice and the music she played and sang over her 30-minute (6-song) set was of a slightly more energetic variety than your traditional folk artist does, I’d say.

The Oceanographers – I really liked the singer’s voice, the wife beater, not so much, but that’s just me. They played to a house of 80ish people over the course of their half-hour set, covering about 7 or so songs. They began playing as soon as they were ready and assembled, ‘hello’s came later, and they appear to have already engendered a small and enthusiastic following through their participation with local radio station contests, such as the one by Vancouver’s CFOX, the Fox Seeds competition, in which this band placed in the top three just this year. Their style is an indie pop-rock, reminiscent of Atlas Genius (minus the latter’s ‘80s influence) and the band complement is similar: drums, bass, lead guitar, rhythm guitar and sometimes keyboard. As the person playing guitar and keyboards is also the person singing, his multi-tasking was good! As an ensemble, they have to work on their endings. You can’t just trail off into haphazardness at the end. Why? A) it sounds like you don’t know how the bleedin’ thing ends and B) it confuses the audience who’d like to show their appreciation. Either end the song properly, cueing applause or segue into the next song. They did this again and again. Also, they had a guest vocalist join them for one of the songs, who, quite frankly didn’t add anything except volume. He sang the exact same part as the singer for verses and chorus. I therefore query what the point of it was, other than to have two guys sing the exact same thing (was there ANY harmony at ANY stage?), one of whom looked like he was very much under the influence of something, or maybe that’s what he always looks like on stage. It’s not like I actually know Charlie. One more thing, and I say this with kindness, you may want to rework the piano part to Northern Lights – the chord progression is perhaps a little close to Benny and the Jets to my ears. Here endeth the lesson. As you perhaps can tell, I’m not really standing up taking notice of these guys just yet, but I do like what I’m hearing overall, especially their livelier songs; they sound and ‘feel’ a lot tighter. And the rest may just come with experience and savvy management. I do wish them luck.

Zerbin. Bias alert: I like these guys. I reviewed their March show, also presented by CKPK The Peak, and this one sounded so much better (read my review at Concert Addicts here). Zerbin was just great, then as tonight, but I think the Media Club is kitted out better/differently, plus heat wasn’t so much a factor to affect ukulele strings (we got uke!), and so the 100ish people here tonight got a treat of a show. Plus, as it turns out, Zerbin are on the home stretch of a cross-Canada tour before they take a bit of a break to get some more writing & recording done to augment the recently released EP Touch with another full-length release to follow 2010’s Of Fools and Gold.         

To the set – we (they) began as a four-piece with what I think is a new song. According to the setlist, it’s called C’est la vie and it has a nice upbeat beginning and continues at a good, bouncy clip and is definitely danceable (or agreeable to head nodding for the more reluctant). The energy keeps up for Touch and I adore this song. Every time I hear it on my favourite station (CJZN The Zone 91.3, Victoria), right from the anthemic guitar riff that begins it, the volume goes up, up, up. I love the drive the rhythm supplies, propelling it ever forward and I especially like the vocal run to end the chorus “dark places inside”. Full voice and smiles all around. Shoulder still counts as a new song and features the entire band rocking out. The audience to a degree as well, I definitely saw some rhythmic swaying from the folks sitting at tables across from me. Seamless flow to the next (also new?) song; Don’t let me, was written on the setlist. Jason played a handheld keyboard (maybe 3 octaves?) for it and there’s not much to say about it. It was my first time hearing it and I did enjoy it very much. I look forward to getting better acquainted with it when the CD comes out. For the next song the audience was encouraged to do the arm motions if they knew them. I’m sure people did, they were just doing them really surreptitiously. Jason had better luck getting the audience to clap along to I Want You. The instrumental ending is much more rocked-up than I remember, but I like it. Go, Pete, go!

Tour memories were next, or at least a particular memory from Quebec City, and I cannot remember how exactly they got to Pete imitating a French-speaking/mooing(?) cow. Blimey, it was funny, and for the remainder of the show, if he had any further opportunity to do that, he took advantage. I know this probably doesn’t sound like it makes a lot of sense, I guess you just had to be there. 

Let Go starts off ballad-like, in other words, cue for people to resume conversations again, but it picks up nicely both in volume and tempo and then we have hands in the air and clappy-clappiness and yay for the drum solo! It ends as it began; audience began applause before the song quite finishes, but once they realise what was happening, they let the band continue and the applause was just as loud then as it had been a minute before.

We have a bit of a comedy interlude next: first Jason excuses himself for almost disrobing himself before the audience. He confesses he made a mistake by not wearing a tank top this evening (but then he did start the set wearing a flannelly lumberjack-type jacket and I guess losing that layer earlier made little difference) , and also for getting fat on tour. Laughs and chuckles. Then ‘one of the favourite songs from the new record Touch’, ukulele comes out and we go all seasonal with Frosty the Snowman. Lyrically, it had been awhile. Random lyrics from the song put in wherever, made-up stuff, the audience couldn’t help Jason out, because they didn’t know the words either, but who cares, and it just dissipated into this hilarious chaos. Not to give up on the holiday theme, Pete gives Feliz Navidad a go and that goes a lot better for them all. When Jason joins in, it becomes more of a reggae number and it’s just a lot of fun.

Okay, serious time now, back to the set. It might be called Chasing the Light, but I’m not sure...it’s new and I LOVED how the roll on the cymbal with the mallets sounded below Jason’s ukulele. There’s a minimal bass and guitar part until around the 3rd verse or so when there’s a quick build. Very cool.

At this point, Jason announces there are 2 songs left – somebody in the crowd tries to negotiate and tries for 3 more, but he misheard thinking someone requested Freebird. They went with it good-naturedly. Pete starts playing, and it’s the intro to Sweet Home Alabama. He stops and they both laugh – they haven’t a clue how it goes, and Pete does a bit more of the intro to Sweet Home Alabama, cuz he likes it, and he can. Maybe the French cow comes out again here. And we’re back to the set: Take Your Heart is introduced as a ‘little bit country’ and, no kidding, this was Take Your Heart like it does not appear on Touch. My country-senses are tingling (I do NOT like this music genre. Sorry, boys from Alberta) and I genuinely, honestly don’t hate it. Pete and Jason’s voices blend ever so nicely this way, so it’s got something to say for itself. You know I like the other way better, right? False ending (good level of applause), and the song is virtually a capella at the end but for the occasional strummed chord. The audience can contain its appreciation and is enthusiastic when it actually ends.

The last song of the night – Jason thanks everyone for coming, Skye Wallace, The Oceanographers, The Peak for their support, particularly for the next song which did “really well” for them, and to Live Nation for “taking a chance on a little band like us” (yes, thank you). The song of which he spake is New Earth – Jason teaches/demonstrates the “oh-oooh” part of the chorus to the crowd, Pete demonstrates the whistling bit and off we go. Big high start-to-finish, also from the audience, the seated people are even dancing in their seats a bit and the band give it their all saving a little bit for a pull-out-all-the-stops finish, which ends up with Jason in the back stage right on a speaker or monitor (I couldn’t see), almost hitting his head on the low-ish ceiling playing the cymbals and whatever drum he can reach – Pete has moved (out of harm’s way?) over to far stage left to keep an eye on what his partner was up to, waiting for him to jump off so he can time his part. Maybe for reasons relating to (lack of) head room, he didn’t have to wait too long. Dum-da-da-duuuum. Done. It’s just after quarter to 11, they’ve been on stage less than an hour. Le sigh. Short but FUN!!!!!!!

What more can I say? I so wish more people knew this band. They write really catchy music, their lyrics have some great imagery and depth to them, and as a band are just in general really talented, not to mention personable. The crowd was friendly and genuine in their enjoyment of the show and I hope that never changes. Career-wise, I very much hope Zerbin is on an upward trajectory and that their next CD just blows everyone out of the water – if Touch only represents a taster of what’s to come, bon appétit to us all when it is released. In the meantime, you can stream a tune or two when you check them out online at zerbinmusic.com.