The night began with a crowd-pleasing, Dilla-centred DJ set by Torontonian mymanhenri. Henri, curator for the night and fresh off an opening set for Madlib last month, was in tune to the crowd's needs, spinning classic Jay Dee tracks and working the closer quarters of the club into a palpable frenzy. These would be fulfilled at the stroke of midnight, when Henri introduced the three-piece BADBADNOTGOOD, taking a dimly-lit stage to "The Message," a collaborative track between J Dilla and Madlib. The original track is a testament to Dilla's production genius, anchored by an immediately grabbing bassline sampled from English band Stereolab.

On paper this would seem like a disparate pairing, but the effectiveness of "The Message" is proof that Dilla, like Stereolab, found success in part due to a refusal to conform to meaningless genre conventions. As BADBADNOTGOOD synthesized and brought to the forefront the most melodic, subtle aspects of J Dilla's songform over the night, it was clear that they too engage in the same genre subversion, and are all the better for it.

Throughout the set, BBNG brought their A-game in terms of remaining faithful to the original J Dilla tracks while injecting them with an impressive amount of originality and improvisation. Keyboardist Matt Taveres and bassist Chester Hansen stayed perfectly in rhythm with drummer Alex Sowinski, who acted as the group's spokesman for the night, repeatedly thanking Henri and the crowd for allowing this celebration of Dilla's life and music to be such a resounding success.

Closing with a raucous rendition of De La Soul's 1996 Jay Dee produced hit "Stakes is High," BADBADNOTGOOD had incited a party that made its way onto the stage, complete with not just dancing but with crowd surfing and some intense grinding. Strange for a jazz show? A bit, maybe, but everybody, band and fans alike, weren't about to question the night's festivities.

The last few months have seen BADBADNOTGOOD ascend from relative unknowns with only a few YouTube videos to their name to international consciousness in a remarkably short period of time. While this is no doubt due in part to reasons ranging from to a jam with OFWGKTA leader Tyler, the Creator on their Toronto tour stop to being personally selected by Gilles Peterson to perform at his Worldwide Awards in London, all of the attention is clearly warranted. Despite the high-profile collaborations and accolades, this hometown tribute was evidence that there's raw talent and ingenuity on display, and that we'll only be hearing about it more in the future. And that's not too bad at all.

SETLIST

The Message
Woo-Hah
Over The Breaks
Raise It Up
Body Movin'
Runnin'
Fall In Love
Take Notice
Gazillion Ear
Time
Stakes Is High

Photos by Irina No

How did you get started Deejaying? And how did you find yourself in Toronto?

I was interested in music from an early age. I began playing guitar when I was 5 years old, studying classically for about 10 years. Saxophone was my next instrument of choice, during my teenage years, and this is when I became an avid collector of (mainly jazz) records. While busking in Europe in '86, I caught the club bug and haven't looked back. The following year, as a student at York University, I began DJing in Toronto. My first residency was at Tazmanian Ballroom, where I played on Fridays and Saturdays every week. I also ran a jazz night on Wednesdays called "Jazz at Taz." This is also the venue where I threw Toronto's first raves in 1988.

Is there a time and place in your career that you miss?

I have so many great memories from playing thousands of parties over the years that it's difficult to choose just one point and time. Tazmanian Ballroom, Twilight Zone, Go Go, Cameron House, the early raves and, of course, the Guvernment hold some very special memories.

Looking back, how has the city's dance scene changed? And what's that been like to watch it change?

I feel extremely fortunate to have witnessed and been an active participant in Toronto's rich dance club scene for the past 28 years. With our constant population growth and with every new generation, I notice some great additions to our ever-expanding vibrant and colourful scene. Toronto is bursting with DJ and production talent, some of whom are blowing up internationally.

Going forward, where do you see the city's scene moving? Where do you see yourself in that future?

Now that Toronto has the world's attention through local producers like Deadmau5 and MSTRKRFT, it's a great time to showcase other artists and DJs based here. Toronto has a stronger dance music pedigree than most other cities in the world, yet there has been a strong reliance on imported talent to headline venues and festivals in Toronto over the past 15 years.

It's high time we support and feature our gifted locals and invite international guests to supplement our strong scene instead of being dependent on outside talent. We are now making more of an effort to support local farmers by ingesting local, organic food. I'm committed to applying this "support local" mantra to our ears and dance floors, not just our bellies and farms. In the future, as in the past, I'll continue to work with and help break Toronto producers worldwide.

RAPID FIRE QUESTIONS::

Favourite Brunch Spot? Starving Artist.

Starbucks or Darkhorse? Jet Fuel.

East or West Side? I love living on the east side (Corktown) and playing on the west side.

Favourite Venue? Dragon-i (Hong Kong)

PREVIOUSLY IN THE SERIES

• Lucie Tic
• Denise Benson
• Zeds Dead
• Barletta
• DJ Medley

Is there a DJ you would like to see profiled on blogTO? Email us at editors [at] blogto [dotcom].

Photos by Dylan Leeder.

TUESDAY FEBRUARY 7 / THE KILLS / THE KOOL HAUS / 132 QUEENS QUAY E / $34.50 / ALL AGES

Critically acclaimed indie-rock duo The Kills will be making a stop at the Kool Haus as part of a two-month trek throughout North America. The group, made up of singer Alison Mosshart and guitarist Jamie Hince, have released four albums, the most recent being last year's Blood Pressures. It's a unique sound that harkens back to bands like the Velvet Underground, and that's some seriously high praise.

WEDNESDAY FEBRUARY 8 / DJ PAULY D / SOUND ACADEMY / 11 POLSON / $41 - $145 / ALL AGES, 19+ AREA

I may get some serious, serious flack for including Jersey Shore alum DJ Pauly D in this week's Hot Ticket, but I stand by my choice. Sure, he has next to no original music, with the exception of the fun, if rather generic, "Beat Dat Beat (It's Time To)." And yes, his DJ skills are less than stellar. But if you're looking for a night of top 40 hits and house music, you could do worse. Just go in with lowered expectations, have a few drinks, and fist pump the night away.

THURSDAY FEBRUARY 9 / A-TRAK / THE HOXTON / 69 BATHURST / $20 / 19+

Montreal-born DJ Alain Macklovitch, better known by his handle, A-Trak, has accomplished more in the last 15 years than most DJs will in their entire careers. Aside from being the first DJ to win five World Championships, he's also the first to win the three major DJ competitions — DMC, ITF and Vestax. He's also had a hand in Kanye West's career since 2004, when West made him his personal tour DJ. No small feat, that. In all honesty, if you're going to see only one of the DJs on this list, this is the one you'll want to see.

FRIDAY FEBRUARY 10 / WILLIAM FITZSIMMONS / THE GREAT HALL / 1087 QUEEN W / $17.50 / 19+

Let's move away from electronic music for one night. American folk-rocker William Fitzsimmons, who rose to prominence due in large part to his music being featured in episodes of Grey's Anatomy, will bring his multi-instrumental talents to the Great Hall. Expect to hear a varied setlist drawing from his extensive discography, and here's hoping he plays some tracks from his brilliant 2008 offering The Sparrow And The Crow. Denison Witmer will offer support.

SATURDAY FEBRUARY 11 / KATHLEEN EDWARDS / THE PHOENIX / $29.50 / 19

In the almost four years since Kathleen Edward's third album, Asking for Flowers, the Canadian songstress has seen her life undergo an array of drastic changes. Most significantly, Edwards divorced her longtime collaborator Colin Cripps, and started a new relationship with Justin Vernon -- coincidently, Vernon also helped co-produce her latest album, Voyageur. Edwards, for her part, has used the turmoil of the past four years to craft what some critics are calling her best album yet. On Saturday night, Edwards takes the Phoenix stage in what's likely to be a powerful set.

SATURDAY FEBRUARY 11 / CHARLES BRADLEY / LEE'S PALACE / 529 BLOOR W / $22.50 / 19+

Everyone needs a little soul in their life, and if you're looking for some, this is the show for you. Charles Bradley's style is reminiscent of soul and funk artists of the 1960s and 1970s, and his style has been compared to the great Otis Redding. This is a genre of music that doesn't get nearly enough love these days, and when an artist like Bradley comes along, he should be celebrated. For something a little different, and very funky, check this show out.

SUNDAY FEBRUARY 12 / LOCK UP / ANNEX WRECK ROOM / 794 BATHURST / $20 / 19+

Music doesn't get much harder than this. Lock Up is a supergroup comprised of members from bands such as Cradle of Filth, Dimmu Borgir, and Napalm Death. The band plays something called "grindcore," and, well, it's safe to say that it's an acquired taste. But if you're a fan of metal, or any of the aforementioned bands, chances are you'll dig it. Just be prepared, because it's safe to say that it's going to be a rough crowd.

RECENTLY ANNOUNCED CONCERTS

February

• Lucian Ban and John Hebert at the Glenn Gould Studio on February 17. $20

March

• The Walkmen at the Phoenix on March 2. $25.
• Atlas Sound at Lee's Palace on March 6. $16.50.
• Emeli Sandé at the Drake Hotel on March 7. $15.
• OFWGKTA at the Sound Academy on March 15. $48.
• I Mother Earth at the Sound Academy on March 23. $32.50.
• Andrew W.K. at the Phoenix on March 27. $22.50.
• The Psychedelic Furs at Lee's Palace on March 29. $36.

Beyond

• Ingrid Michaelson at the Phoenix on April 10. $27.50.
• Shabazz Palaces at Lee's Palace on April 10. $15.
• Of Monsters and Men at the Mod Club on April 12. $16.
• Trampled by Turtles at Lee's Palace on April 15. $20.
• Good Old War at the Horseshoe on April 20. $12.50.
• Kina Grannis at the Phoenix on April 29. $18.50 - $23.50.
• Bryan Adams at the Air Canada Centre on May 3. $20 - $95.
• Spiritualized at the Phoenix on May 5. $27.
• Behemoth at the Opera House on May 8. $25.
• Rusko at the Sound Academy on May 8. $27.50.
• Active Child at Lee's Palace on May 15. $15.
• Ron Sexsmith at the Queen Elizabeth Theatre on May 17. $29.50.
• Mogwai at the Phoenix on June 18. $29.50

For more music listings, head on over to our events calendar.

Looking for tickets? Check out Rotate This or Soundscapes to avoid Ticketmaster robbery.

Have an event you'd like us to plug? Submit your own listing to the blogTO events calendar.

With contributions from Igor Bonifacic.

Photo of The Kills courtesy of Jeremy M. Farmer on Flickr.

I was a little apprehensive to hear songs like 'Lady Jesus' from 2009's Fruit going in last night. After all, the Asteroids Galaxy Tour's sound on record is nothing short of arresting: huge drums, horns and hooks placed carefully on top of one another, beautiful and intriguing, but layered in such a way that's difficult to duplicate out of studio.

Songs like that — where the studio magic of reverb, guitar effects and layered samples feature prominently — are very difficult to pull off live. Frequently, bands make compromises to the touring versions of songs that render them nearly unrecognizable when compared to the original versions. The Asteroids Galaxy Tour, though, performed surprisingly well in that regard — with only four other musicians, Mette & Lars were able to recreate almost all of the texture that made their last record so captivating. Songs like "Push The Envelope," with the most varied and scattered instruments and parts to be found, didn't suffer a bit from being taken out on the road — incredibly, the band was actually able to approximate the huge, brash horn lines from that song using only one each saxophone and trombone.

When they finally kicked into their first single "Around The Bend" — otherwise known as the song from the Apple ad — the crowd, to put it mildly, went nuts. The difference in the audience response when the band played songs that had been featured on commercials or Gossip Girl was quantifiable — clearly, this is a group that gets a lot of exposure through placement of their work in ads and soundtracks.

Having recently released a new LP in Out Of Frequency, the band's setlist was heavy with new content — singles like "Heart Attack" sat very well against older tunes, like "The Sun Ain't Shining No More." The new songs stick fairly closely to the accessible fun of Fruit, sure to charm audiences once the tunes get a little more airtime.

The Hoxton proved a good venue for this bill, with a crowd that was apparently so stylish that it prompted the openers, Philadelphia's Vacationer, to blurt "you guys look really good," in a slightly awkward but endearing fashion.

A four-piece modern pop ensemble who were definitely a little intimidated by the room, Vacationer nonetheless put in a solid, danceable set to get the audience moving before the headliners took the stage.

It was an impressive showing for a Monday night, and it's easy to see why The Asteroids Galaxy Tour were able to catch the attention of the late Amy Winehouse and other music industry heavyweights the world over. When those people take note of a band — not to mention Apple's ad team — audiences end up listening.

Photos by Kris Haig-Brown

When I last saw New York three-piece Amen Dunes, they were in a rush to get back on the road, which made for a disappointing show. This time, frontman Damon McMahon seemed more relaxed, and though this performance was less intimate than what would follow, the band's droning, distorted garage rock filled cavernous Lee's well. They closed with passionate, masculine vocal harmonies during "In Caroline," and I was glad I gave them a second chance.

As Mountains set up their gadgets, all microphones were removed from the stage — the rest of the night was to be strictly instrumental. Chicago's Brendon Anderegg and Koen Holtkamp set up over a long table, and the deep concentration with which they assembled their gear remained throughout their set.

As Mountains' drone built, Holtkamp turned dials and connected wires within a suitcase, or picked up an electric guitar to add a few notes into the duo's complicated electronic systems of looping and distortion. Anderegg played a small synth and an acoustic-electric guitar with a board taped over the sound hole, covering everything but the pick up, which he picked up and put down often. Loud as the music became, it was an unusual style for a venue like Lee's, yet it seemed natural, and everyone around us was attentive.

This Will Destroy You are touring with a huge electric piano, which caught my eye right away &mdasj; it's a massive undertaking to tour with something so heavy. Sure enough, just to position it on stage took two members of the band.

As the four Texans took their positions, the crowd geared up for what was to come. There was a sense that they knew what was in store. As the set progressed, I was impressed by how heavy This Will Destroy You could get, and by their straight-forward, in-unison approach to rocking out in general. I would have been into hearing more of the quiet moments found on TWDY's last record (2011's Tunnel Vision) though, and I wondered why they weren't taking chances before this adoring fan-base.

Gauging by Tunnel Vision, I had expected a set more aligned with the ambient nature of Mountains, but live TWDY stuck to a frank, easily digestible sound: simple guitar melodies which gave way to sudden bursts of aggression and distortion. The electric piano got some use, but its tones never got a chance to shine - maybe next time.

At least for now This Will Destroy You has good taste in openers, and listeners who'll keep coming back for more.

Webb's performance was so powerful and earnest that, combined with the gorgeous setting, I 1) didn't miss our beloved Constantines and 2) got as close to a "religious experience" as I've ever had a concert.

The pews were packed and everyone listened intently to the amazing acoustics on Webb's stripped-down twangy songs and his frequent cheerful banter. Before playing a song about his son he told us that "he couldn't come to the show — it's past his bedtime. We had a dance party this afternoon. I got really sweaty." And it was right about then that my happy-tears started to kicked in (shut up, I know). Webb was also filled with praise and chatter for his opener, Doug Tielli, all night.

The polite audience got a bit noisy when they recognized Webb's single "Rivers of Gold," but in general it was a hushed atmosphere. In Webb's words, "this silence is intense, I'm not used to this." He was right — the silence was intense, especially for a socially awkward freak like myself. I seriously thought everyone could hear my weight shift from one foot to another (no room in the pews, man, had to stand...man). So when a drummer took the stage for the last song, "Ex-Punks," a collective sigh was let out in the room. As the most upbeat and rocking track on the album, I was thrilled to hear it and it ended the show perfectly, allowing Webb's powerful voice a little more room to maneuver.

I've covered some stupid bands in my day, and Bry Webb was a great reminder of what music should be. If I were a psychiatrist I would say his calm, confident, beautiful music reflects how at peace he is with his life right now. And as much as I love and miss The Constantines' raucous, that's worth trading pretty much anything for.

Photos by Christian Bobak

How did you start DJing?

Well, I've always been into underground electronic music. Even when I was younger, my dad had me listening to anything from Frank Zappa to the New Wave music that was coming out at the time. And even in small Mission, British Colombia I somehow managed to get a hold of interesting underground music. I don't remember exactly how I got a hold of it, though I do remember buying whatever music magazine I could get my hands and listening to the sample CDs that came with the magazine. I also spent a lot of my time discovering music the old-fashioned way, by visiting my local record store and just listening to whatever music they had.

Around the time I turned 15, I started going to parties, though one in particular stands out. A Florida Breaks duo called Mike and Charlie were playing a show. It was at that show that I decided that wanted to DJ. Something about the energy of the room, and how a DJ could just change the whole vibe of the room really intrigued me. Three months after that, I bought two Technics SL-1200s and a Numark mixer, and I started to learn to DJ. From there, I quickly got booked to play gigs around Vancouver. For me, it's never been about tricks and gimmicks; instead, I try to focus on the performance, the community, and the just the spirit of playing two songs side-by-side.

At what point did you move to Toronto? And what's one thing that makes Toronto's dance scene different from what you get in Vancouver?

In 2001, I got a one month scholarship to attend The Toronto Dance Theatre. When I got to Toronto, I met up with a bunch of people that had been recommended to me by my friends in Vancouver. We started going out, and I immediately noticed how Toronto's scene seemed much more open. It also had this richness that was missing in Vancouver.

After I finished my scholarship in Toronto and came back home to Vancouver, I told my parents that I was planning to move to Toronto. They just laughed at the idea, but about a week after I was on a bus heading towards Toronto. It's been more than 10 years since I moved to here, so a lot has changed in both cities. At the time, however, clubs in Vancouver weren't of the same calibre as the ones I started going to in Toronto. I also feel like people in this city really love their music.

What does your day job involve?

I teach dance at a local downtown academy. Beyond that, I've helped develop choreography for a couple of artists, the most famous of which is probably Thunderheist. But I'm at a stage now where I'm starting to scale back on dancing to focus on my music. I definitely want to focus on producing.

What are some of the challenges of being a female DJ?

Well, there's both advantages and disadvantages. Obviously, as a woman you stand out but, at the same time, you definitely have to work harder before you're taken seriously. That said, proving yourself is something that's asked of everyone.

What advice would you give to young, aspiring DJs — male or female?

I would say get into everything right away. I always held back on producing because I didn't know enough, I didn't have the right software, and I didn't have the right gear. But don't let those things stop you. Instead, just start producing with anything — go to your friend's house and produce with the software they have. It doesn't matter, the most important thing it to just get started.

RAPID FIRE QUESTIONS:

Favourite Brunch Spot? Parts and Labour.

East or West Side? West.

Starbucks or Darkhorse? The Grain Bean and Curd.

Favourite Venue? Wrongbar.

PREVIOUSLY IN THE SERIES

• Denise Benson
• Zeds Dead
• Barletta
• DJ Medley

Is there a DJ you would like to see profiled on blogTO? Email us at editors [at] blogto [dotcom].

Photos by Dylan Leeder

The band opened their set with "Rain of Gold." The song, propelled by an unlikely looped flute sample, turned out to be an ideal way to excite the Horseshoe's still limbering crowd. At first, singer Matthew Vlahovich seemed to be forcing the song's chorus of "Echo, echo / wake all my heart / wake all my love / wake all my youth." Thankfully, Vlahovich settled into a grove as the show progressed, and by the band's third song, "Against the Wall," it was obvious that the frontman was totally engrossed in his material.

Coincidently, "Against the Wall" turned out to be one of the highlights of the band's compact set. The song features the kind of precise, melodic guitar riff that John Frusciante was pumping out right he returned to the Chili Peppers. Juxtaposed against the guitar riff is a heavy layer of synths. On paper, many of the band's songs shouldn't work, but the fact that they do, and many of them are exceptional in how well they fit seemingly disparate sounds together, is a testament to the band's musical sense.

Towards the end of their main set, the group asked for the house lights to be dimmed. The request was a prelude to the band playing "Glory of the Night." It was at this point, when the band was playing their most thoughtful songs, that they were at their best and that they seemed to connect with their audience.

After a brisk seven song set and a short absence from the stage, Young Empires returned to the Horseshoe's stage to play a two song encore, the latter song of which was the incendiary "Enter Through the Sun." By this point in the night — well past 1:00 a.m. in the morning — the audience started to thin out, though that proved to a blessing as the song's chorus of "We put this house on fire" did exactly as promised and got the audience dancing. Not a bad way to end such a successful night and week.

Setlist:

Rain of Gold
Final Call
Against the Wall
Beaches
Glory of the Night
Let You Sleep Tonight
White Doves

Encore:

(Unreleased Song)
Enter Through the Sun

Photos by Ross McAuley

Every Sunday, I post a five-track mixtape (along with my own mini-reflections for each track) that you can download or stream as a soundtrack for the week.

Track #1: Isla Craig and The Continental Drift, "Marbles"

We begin this week's mixtape with the lengthy track "Marbles"; its desolate arrangements and lush lyrics feel like it could drift forever.

Track #2: The Darcys, "Black Cow"

Art-rock band The Darcys released the second album of a trilogy. AJA is available for free download (via Arts & Crafts) and includes the towering track "I Got the News".

Track #3: Bry Webb, "Ex-Punks"

"Ex-Punks" rumbles with wrangling percussion and lap steel. Jennifer Castle provides back-up vocals to the track, which Bry Webb reveals in our interview was "the song that filled the last gap in the album."

Track #4: Fuss, "Donee"

Sounding like a messy demo, Fuss plays stackable hooks steeped in fuzz and scuzz. Download "Donee" and Fuss' other tight jams for free here.

Track #5: Inland Island, "Kiwi"

There's a warm feeling behind the sounds of "Kiwi", perhaps somewhere between lived in and empty. Listen/download Inland Island's home-recorded album A Knot for free here.

If you wish to be a part of The Neighbourhood Mixtape, you can contact Aldrin at aldrin [at] blogto [dotcom]

On display immediately was the band's professionalism, precision and skill. They have a stadium pop-rock (think The Stills, Muse) quality that was surprising to hear at The Horseshoe (it's up to you whether you think that's a compliment or not).

About half-way through the set, they played two new songs in a row, which everyone seemed to dig. Meanwhile, I was feeling the vibrations of the bass drum through a comfy leather bench while drinking a gin and tonic. All in all, a pretty good feeling and vibe.

Soon came "Ice Hotels" — from what I gather, a sexy story about bear skin rugs. The song has an almost lullaby quality. If I was a kinky baby that was into bear skin rugs, I would fall asleep to this song every night.

After another new song and another episode of the keyboard player head-banging his fucking head off (what music is playing in his mind exactly that the rest of us cannot hear?) Dinosaur Bones ended with "N.Y.E." much to the delight of the crowd. The entire audience joined in on clapping-session after prompting from guitarist/vocalist Ben Fox.

...But wait! It wasn't actually over yet! The band quickly appeared back onstage they declared "we're gonna do something stupid!" And that they did. A cover of Don Henley's "Boys of Summer." They were joined by a smattering of (presumably) friends onstage who danced around and belted out the chorus.

Dinosaur Bones make harmless pop rock music, and they do it well. They sing about girls and romance and awkward situations and, well, would fit perfectly into a Josh Schwartz project, past or present. And there's nothing wrong with that.

Photos by Bruce Emberley

Tell us what the name Provider means to you.

Taking responsibility for someone other than myself. Calling the record "Provider" was kind of just about putting a big reminder to myself up in a place that I couldn't ever forget or ignore it.

In past interviews, you've mentioned how you create your songs "in the moment", and your songs seem to resonate with this feeling when you listen to it. Can you talk about how you capture these moments?

I actually have no system for writing songs. It often takes a long time. The few times I've been able to write a song quickly or in the moment, were pretty unique. On this record it involved having taken a trip to Dawson City in the Yukon Territory to play music at the music festival up there. I had a great feeling up there, hanging out with incredible people, doing what I wanted to be doing. I knew in that moment that I was completely free. So writing the song, "Rivers of Gold" just kind of came out in a moment of thinking back on that experience. But I guess it's just about trying to put yourself in good situations. I've been pretty lucky.

There's something special with the way Provider opens with the lulling "Asa", a song inspired by your son. How is fatherhood reflected on your album and how has this new role changed the way you look at music?

I had stopped making music for a while when our son arrived. I couldn't figure out what to sing about, for a while there. But a few months after Asa arrived, I wanted to write him a lullaby that included all of the meanings of his name. That was the first song I had written in a year and a half. I started making music again with only him in mind. He's a little healer.

Which song from the album would you say got Provider going and which song made it feel complete?

"Asa" definitely got me thinking about making music again, but "Ex-Punks" was the song that filled the last gap in the album. Rich (Burnett) and I stayed up pretty late figuring out that lap steel part - pretty late for a couple of dads. That was the last song written for the record, and it talks about everything I love about punk rock and rock & roll and making music or art or anything creative, things in my past that I've had to let go of, and other things that I can't let go of.

How do you feel working with Feist? - collaborating with her on Metals and vice versa with Provider?

It was a real pleasure. She's been very kind to me. Definitely gave me the boost in confidence to record again and release a record on my own. She's been able to hold on to the notion that creating things is fun, which seems rare for someone with that level of success.

Any plans to work with her again in the near future?

No, but I'm always excited to hear what she'll do next.

"Undertaker" has a well-worn and weathered-down tone to it, in part thanks to Colin Stetson. What was it like working with him on this song?

Colin is the man. I was lucky to have met him when I was living in Montreal. Absolutely one of the most sensitive players I've ever heard, and his range is astounding. He came in and just put down like eight layers of these long baritone and bass saxophone notes throughout the whole thing, and it really made the song. Then he whipped out a French horn and took it to the limit with that, too. Incredible guy. I'm going to release a sax-only mix of that song someday soon.

What did you learn from making this album and what's next for you?

It's better to write a song than to think about writing a song. For now I'm just playing a few shows, working at a local community radio station, and hanging out with my family as much as I can. I'd like to get on some of the more remote festivals in Canada this summer so we can take some sweet family vacations.

Catch Bry Webb tonight at The Music Gallery (197 John St.). Two shows: 7pm and 9:30pm / Tickets $12

Photo by John Teeter

Dent-De-Lion is Aymeric Hainaux, a solo performer from France who is currently crossing North America with his harmonica, accordion, echo pedal, assortment of junk percussion, and his most important instrument: himself.

Every note and gesture counts with Dent-De-Lion. Combining beat-boxing, minimalism, noisy experimentation, performance art, and dance, Hainaux moves fluidly, deep in concentration, trancelike in his awareness of his music and body. From the first moment Hainaux faced the audience and began speaking swift and forceful words in French, and what I believe was German (the sound seemed to matter, not the words), the small room was held captive.

Hands nearly always cupping a microphone to his mouth as he crouched or paced the stage, Dent-De-Lion beat-boxed, whispered, yelped, and blasted noise. He slowly lifted an enormous mass of tarnished bells, seeming to control each careful sound they made, until, after a long period of slowly increasing their quivering, the bells were brought crashing to the floor: a simple act made hypnotic by Hainaux's unwavering physical absorption. He went on to point his microphone toward and away from one of Placebo's speakers, mining for extreme feedback to accompany his voice.

Dent-De-Lion isn't all aggression, though. Standing immobile, holding the microphone away from his mouth and singing with a ventriloquist's flair, strange non-melodies seemed to come from far away, as though from another room, or an old speakerphone, and not Hainaux's barely moving lips. Later on in the set he brought out a large harmonica and played beautiful tones while weaving out into the crowd to sit among the audience.

The set came to a close as Hainaux left the stage - and the venue - to speak more rapid words that I couldn't make out to some late-comers who were coming up the stairs. It was an end both jarring and fitting with the performance, and Dent-De-Lion's unconventional take on making music with sound, movement, and silence.

The a cappella "Wonderful Savior" was the show's opener, which found all six members of her backing band — one each taking up guitar, bass, and drums later in the show, and three backing vocalists, including sister Yvonne Staples — hunched around the singer with a few mics. Naturally, as the core trio picked up their instruments, the set would become increasingly raucous. Be it between the band or with regards to audience connection, however, none of the intimacy set by the opening number would be lost throughout the show, which included newer originals, various cover songs, and a smattering of Staples Singers classics.

The date was part of a brief Ontario tour in support of her most recent album, 2010's You Are Not Alone, which was produced by a fan of a younger generation: Wilco's Jeff Tweedy. Due to touring commitments with his main gig, Tweedy couldn't be along for the ride, but Ms. Staples thanked him before launching into the album's title track — a stunning, comforting slow-burner written by Tweedy that certainly had a hand in nabbing the pair a Grammy for Best Americana Album.

The first half of the set found the band embellishing the songs in a clearly virtuosic yet tasteful way, allowing most of the focus to rightly remain on Ms. Staples. Her rich voice has lost none of its power over time, and if anything has only improved in range, with equal proficiency whether tackling an earth-shaking wail or a gruff groan reminiscent of a female counterpoint to later Tom Waits.

"Too Close/On my Way to Heaven" was a highlight, featuring a duet with backing vocalist Donny Gerrard whose smooth tenor served as a perfect contrast to Ms. Staples. All players involved exuded a confidence and understanding as to how to best serve Ms. Staples' voice and stage presence, with a notable break mid-set in which the vocalists took a brief respite, leaving the instrumentalists to conduct two quick, bluesy jams.

Ms. Staples' return to the stage was met with rapturous applause from a crowd spanning multiple generations, and Mavis was quick to return the thanks. "We could stay 'til tomorrow morning, if you'd like", she quipped, before launching into a two- song encore concluding with a stunning cover of Curtis Mayfield's civil rights anthem "This is My Country." Despite being about America, the song's sentiment is universal, and the mass singalong that ensued assured all — band, audience, and Mavis Staples — that soul music in the 21st century still has the capacity to inspire.

SETLIST

Wonderful Savior
Creep Along Moses
We're Gonna Make It
The Weight (The Band)
You Are Not Alone
Freedom's Highway (The Staples Singers)
Why (Am I Treated So Bad) (The Staples Singers)
For What It's Worth (Buffalo Springfield)
Too Close/On My Way to Heaven
Bluesy Jam #1 (Instrumental)
Bluesy Jam #2 (Instrumental)
I Belong to the Band
I'll Take You There (The Staples Singers)

ENCORE

Eyes on the Prize
This is My Country (Curtis Mayfield)

Photos by Morris Lum

SATURDAY FEBRUARY 4 / BRY WEBB / MUSIC GALLERY / $12 / 19+

In 2010, one of Ontario's finest bands, the Constantines, decided to go on hiatus, leaving Toronto without the voice of the group's frontman, Bry Webb. Thankfully, Webb is back with a new record, Provider. The songwriter's newest material sees him exhibit the same kind of lyrical wit that marked his early career, though this most recent batch of songs is tempered by his newfound experiences as a husband and father. Webb plays two shows on Saturday night at the Music Gallery — one at 7:00 PM, then another at 9:30 PM.

THURSDAY FEBRUARY 2 / DINOSAUR BONES / HORSESHOE / $ 10.50 / 19+

Local heroes Dinosaur Bones celebrate their four year anniversary this Thursday at the Horseshoe Tavern. Support is provided by Young Rival and Prussia — both excellent bands. As anniversaries go, this one should be a blast.

FRIDAY FEBRUARY 3 / YOUNG EMPIRES / HORSESHOE / $10 / 19+

With the upcoming release of their debut album, Wake All My Youth, Young Empires is set to be Toronto's next big band. Of course, like most local bands, the group will have to tour the world before anyone in Toronto notices. Still, this coming Friday marks the perfect opportunity to check out the band's infectious blend of musical genres at one of this city's best venues.

MONDAY FEBRUARY 6 / ICED EARTH / PHOENIX / $38.50 / ALL AGES

January saw influential metal like Tool and Machine Head visit Toronto, and the parade of influential metal bands continues into February with a visit from Iced Earth. The Tampa, Florida band with an often changing lineup is touring in support of their their newest LP, Dystopia.

RECENTLY ANNOUNCED CONCERTS

February

• Ethiopia: A Musical Perspective at the Glenn Gould Studio on February 11. $20.
• The Rizdales at the Dakota Tavern on February 11. $10.
• Hooded Fang at the Great Hall on February 24. $10.
• Mona at the Mod Club on February 25. $12.50.
• Gripped by Passion at Koerner Hall on February 26. $49 - $67.

March

• Brit Floyd at the Sony Centre on March 1. $35 - $65.
• Masta Ace at the El Mocambo on March 3. $24.50.
• Yelawolf at the Phoenix on March 8. $22.
• Young Prisms at the Drake Hotel on March 10. $10.
• Hey Ocean! at Lee's Palace on March 16. $15.
• The Mighty Regis at the Bovine Sex Club on March 20. Free.
• Treble Charger at the Phoenix on March 21. $23.50.
• Slash at the Phoenix on March 23. $38.50.
• The Indies with Passion Pit, Rich Aucoin, The Sheepdogs, Dan Mangan, and more at the Fairmont Royal York on March 24. $30.
• Comeback Kid at the Mod Club on March 30. $17.50.

Beyond:

• Feed Me at the Phoenix on April 2. $29.50.
• The Pretty Reckless at the Phoenix on April 4. $21.
• Say Anything at the Opera House on April 6. $20.50.
• Yukon Blonde at Lee's Palace on April 12. $15.
• Said the Whale at the Great Hall on April 13. $16.50.
• The Jezabels at the Mod Club on April 18. $15.50.
• Death Cab for Cutie at Massey Hall on April 19. $59.50 − $69.50.
• Plants and Animals at Lee's Palace on April 21. $15.
• Red Hot Chili Peppers at the Air Canada Centre on April 27. $39.50 − $59.50.
• We Were Promised Jetpacks at Lee's Palace on April 27. $15.
• The Boxer Rebellion at the Mod Club on May 2. $18.50.
• Beirut at the Sound Academy on July 19. $35 − $50.

Looking for tickets? Check out Rotate This or Soundscapes to avoid Ticketmaster robbery.

Have an event you'd like us to plug? Submit your own listing to the blogTO events calendar.

Photo of the Constantines by Ryan O'Shaughnessy from the blogTO Flickr pool.

Long haired, hooded opener Sexy Merlin began at 10 p.m., alone with a mic and some pedals before a drum-kit. Aside from the appeal of looking like fabled wizard Merlin, SM's industrial beats and effects-heavy vocals made for surprisingly accessible and danceable lo-fi jams.

U.S. Girls' Megan Remy appeared next, concentrating deeply at first as she built beats and melodies via cassettes and numerous dials and pedals: looping accompaniments for her bellowed, distorted-to-the-extreme rockabilly vocals.

The best way to imagine U.S. Girls live is to picture noisy, reverb infused lo-fi karaoke, accompanied not by CD instrumentals but by ominous sounding DIY beats and loops, and channeled not in drunken camaraderie but rather in a fashion reminiscent of someone singing alone in their room with private, desperate abandon. Remy lets go like no one is watching, face distorted with passion; hinting an awareness of her audience only through occasional, steady glances over the room.

This doom-karaoke vibe is most evident when Remy is performing covers — like her mid-set rendition of "Down in the Boondocks," or her 2011 recording of "The Boy is Mine" — but it translates aptly through her own material too: opening beats of her single "Island Song" drew cheers. To me, the transformation of bedroom lo-fi spirit into live performance art would be appealing enough, but considering U.S. Girls' capability to write catchy, moody compositions and sing with the passion (while hitting the all notes) of a 40's pop icon, Remy creates a unique and worthwhile experience.

Montreal's The Pink Noise took the stage next. Saturday marked their first show as a five piece, and frontman Mark Sauner's no-wave, shouted monotone punk vocals were aided by synths, drums, guitar, and alternately violin (plucked, strummed, and bowed) or bass. The night's lo-fi dance vibe continued, though the growing crowd was tepid in spirit.

The Garrison was packed by the time Montreal/Toronto's Yamantaka//Sonic Titan started rumbling. The "Noh-wavers" began a long, thundering introduction, while first a costumed band member in large Triceratops-like costume lurched on stage, then two figures weaved through the crowd beneath huge homemade dragon heads.

Eventually the lights went up and two costumed Y//ST members came forward to chant and sing. All Yamantaka//Sonic Titan-ers wear face-paint on stage, and the band hand-make their elaborate costumes and backdrops; I'll let the photos speak for themselves. Garden lights blinked while the boisterous crowd cheered the band's theatrics.

The audience seemed familiar with the songs, but due to what was likely unfortunate mixing, the operatic vocals were barely audible anywhere in the venue aside from occasional, faint shrieks; fans who came in pursuit of entertainment rather than sound were probably the ones most satisfied. From what I've read about Y//ST, their multitudes of influences, theatrics and genre-bending would interest me if taken in an ambient, concentrated, and vocal focused direction, but their Saturday performance made it evident they're following a prog-rock, Gwar-esque path, which will definitely win them a greater fan-base (as apparent already).

Photos by Christian Bobak