Cate Simpson

Victoria Day ***
Six Shooter

Victoria Day is full of lyrical surprises and tongue-in-cheek throwbacks to its ’60s country influences. But among life-in-Marlboro-country numbers like “Glenrio” and “Segovia” (which give the impression of being at least partly pastiche, with lines like “She’s been flirting with the law / He’s got his hand right up her skirt”) we also get plenty of references to McClelland’s current home base, Toronto. The singer’s fourth release and first for Six Shooter, Victoria Day swings freely among styles without sounding muddled, from classic country tracks like “A Girl Can Dream” to the vaudevillian “I Blame You,” even squeezing in a couple of avant-garde instrumental interludes. Always richly evocative, especially in the late night drive–worthy “Brake,” Victoria Day is a musical journey that is worth taking.

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Following a fiery opening set from The Faint, the Liverpool synth-pop quartet play it a touch too cool.

It’s amazing the things that can happen on a Monday night when you’d probably otherwise be in bed. A Ladytron/The Faint double-bill at the Phoenix is one of those things.

The Faint come on in a hail of distortion and, with a cry of “we’re The Faint,” they launch into “Mirror Error.” The Omaha five-piece are demonstrably excited to be here and are in their element. Frontman Todd Fink, dressed in an embroidered tunic, grasps the mic in one hand and the stand in the other, his hair wild — true to the band’s penchant for disturbing imagery. They take the shortest of breaks between songs, with Fink stopping to address the audience only twice: once for a hoarse “Thank you,” and once to say, “We’re having a good time. We hope you are too.”

We are. An energetic crowd has gathered around what someone in the coat check line later calls “drunk old guys moshing.” Everything becomes wildly unstable for a few minutes as the requisite arsehole on coke decides to flop into people for fun, until his girlfriend heaves a long-suffering sigh, claims responsibility for his flailing limbs and escorts him out. Most of the crowd, fortunately, are having too much fun themselves to notice.

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Porn videos, devil signs (with both hands), pyrotechnics that go up like ejaculate, 10-minute drum solos and promises to get "fuckin’ drunk." What, you expected anything less?

Nickelback are late taking the stage after support acts Saving Abel and Seether, but just as the sold-out ACC crowd are starting to get rowdy, the Albertan rockers come out flying with “Something In Your Mouth.” The song is backed up by porn visuals on the screens (just in case we don’t get the subtext), and orange stage pyrotechnics that go up like ejaculate. Even in a recession, it’s nice to see a band with a special-effects budget to blow.

Frontman Chad Kroeger is feeling chatty tonight, and obviously at his ease despite staring down a packed arena. “It’s great to be back in Toronna!” he screams, more than once. Getting into his stride, he finishes “Figured You Out” by making the devil sign. With both hands. Then he engages the crowd in a rousing game of “I say ‘Nickel,’ you say ‘Back!’” The crowd wins.

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Swagger ***
Sun Rev

Swagger, the second album from blues rocker Lucie Idlout, does just what the title claims to. Its opening track, “Berlin” finds the Nunavut-bred singer crooning an ode to a disastrous relationship (or one night stand?), that’s perfectly suited to Idlout’s low, stormy voice. Relationships gone wrong recur through the album, with songs like “You (Devil)” and “Lovely Irene,” about a woman escaping an abusive partner. It also packs a few surprises, like “For You,” which sounds tender and sweet until you realize Idlout is singing, “Not for you / I won’t be there for you.” But despite its heavy subject matter, most of Swagger is catchy, feel-good rock. It won’t blow you away with poetry or invention, but it’s good music to stride, or swagger, down the street to.

(Original article)

Swedish siren revitalizes her more wistful debut album in an effort to make us dance, dance, dance.

You’d be forgiven for having low expectations of Swedish pop sensation Lykke Li’s live performance. Her album, Youth Novels, is a catchy collection of synth-pop whistles and beeps and solid beats, but it’s not quite fast or hard-hitting enough to facilitate serious dancing. Friday night’s show at the Phoenix was a different story, revealing a live potential barely hinted at in the studio album.

The first 30 seconds of "Melodies & Desires" open Li’s show, segueing into a bass-heavy rendition of "Dance Dance Dance." Li’s stage presence is immediately obvious; she leaps over the microphone cord, dancing with her arms and employing various noise-making props — a tambourine, a tiny keyboard and, on two pleasing occasions, a megaphone.

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