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The Fontaines Live At Taloola Cafe – Saturday, February 23, 2019

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Image result for sara fontaine music

The Taloola cafe was a perfect venue for the musical duo The Fontaines, which is composed of a husband and wife who can be found performing at different venues throughout Windsor. The vintage and artsy aesthetic really fit the mood for the types of sounds and lyrics that The Fontaines were about to expose us to. I had tried going to Taloola the previous night on Friday because I knew that the cafe had live music on Fridays and Saturdays starting at 8, however the cafe was packed and so I told myself I would come the next night a little earlier assuring myself a seat. I arrived at about half an hour to eight which gave me enough time to drink my first green tea of the night and wait for what I was expecting to be a great performance.

The Fontaines are composed of Sarah and Ryan, a married couple who musically, excel together. Sarah is the main vocalist and plays the acoustic guitar while Ryan plays the cello and has some solid accompanied vocals on most tracks. The Couple also had their kids and other family members at the nearest table to the set, which for some reason just really added a lot of charm to the performance. With that being said, the most charming thing about the bands performance was just how personal and raw it felt. They performed an hour set of about fifteen tracks, and although they didn’t specify whether or not the tracks were from an album or recent mixtape, it very much felt that way as there wasn’t a single track that felt out of place and the transition between each tracks were very smooth.

A common theme throughout most of the tracks is love, particularly the love the Fontaines share. In songs like “hello my lover” and “lets fall in love” the Fontaines explore love in an interesting way that other bands usually can’t which is due to the fact that they are indeed married and in a sense they are expressing this love in unison and from a place of common understanding. This also translated to the actual music itself as the duo harmonize beautifully together on the chorus’s of most songs. Their music is very much so melancholy, which is weird to say because there songs certainly aren’t sad but rather just sound sad if one wasn’t to be listening to the lyrics, but this is probably just due to the fact that the two main instruments at work are an acoustic guitar and a cello.

Overall I found it to be a very pleasurable and relaxing experience by the end, the cafe was perfect because it allowed me to just enjoy some tea and live music while I escaped reality for an hour which was needed after the stressful week I had. If I had one complaint about the overall experience it would be that due to the social nature of Taloola cafe the chatter of others would sometimes make the music hard to hear clearly, but this was a pretty minor problem overall. The Fontaines were very charming and you could tell that they were genuinely just doing what they love up there with the person they love.

Windsor Symphony Orchestra: Bowie Got Soul – Friday, February 22 2019

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By Allesandro Rotondi

The Windsor Symphony Orchestra is one of the longest running and most profound forces in the local music scene. Since its initial conception in 1947, the WSO has kept classical alive, strengthened rock and roll, and facilitated pop music. They have also been strong supporters of student education, the importance of the arts, and collaboration with other musicians in the area, including the University Singers student choir that I’m a member of.

This evening was a collaboration with Jeans N’ Classics, a GTA-based group that joins the WSO for tribute concerts to great pop/rock artists. The band includes a guitarist, keyboardist, bassist, drummer, and two lead and two backing vocalists. The band fronts the stage, with the orchestra assembling around them in a half circle, as the conductor stands elevated in the center. The show was held at The Chrysler Theatre, and with a seating capacity of 1200, it was clear this was nearly a sold-out show. This was likely due to the billing of the concert, titled “Bowie vs. Prince,” but due to legal complications with Prince’s estate, the bill was changed to “Bowie Got Soul.” The show must go on.

The concert featured the music of David Bowie sung by Jean Meilleur, and an assortment of other soulful artists like Earth, Wind & Fire, Gnarls Barkley, The Spinners and The O’Jays, all sung by Gavin Hope. The Bowie songs were well received by the audience, as expected. The audience was a combination of youngsters and not-so-youngsters, some from Bowie’s era, some from before, and some like me who were too young to even remember Bowie’s late electronic period. As Gavin Hope walked out wagging his purple tie in the air, the audience laughed and applauded, and a group of ladies shouted “We want ‘Purple Rain!’” Gavin began to sing “Purple tie, purple tie” to the tune of “Purple Rain,” and quickly halted after receiving a look of impending doom from the conductor. The audience understood, and Gavin joked that the WSO’s legal teams could not match those of Prince. The ensemble brought the soul tunes to life, and the audience had redeemed their purple-clad expectations before long.

The mood was very different between the Bowie and soul sets. During Bowie, the audience was reflective and reminiscing, often swaying back and forth and smiling as they grabbed fond memories out of the air and tied them back to the music gracing their ears. Everyone was happy, but it was bittersweet for those who still have an ache in their heart over Bowie’s sudden, unexpected death in 2016. When the soul music hit, the atmosphere changed instantly. Feet began tapping, fingers began snapping and clapping, and people jumped out of their seat to dance in the aisles, much to the chuckles of others who were too scared to do so. It was vibrant, uptempo, and groovy.

The WSO has a knack for fitting into any musical situation. Just last week my choir was with them for Beethoven and Verdi masterworks, and next week will be Mozart’s Requiem. Tonight, they back a rock band, and provide a foundation of beautiful orchestral layering that the band builds off of. And the sound is perfect: condenser microphones capture the sound of the orchestra, and is mixed in perfect dynamic level to the band. My only point of concern was that the backing vocalists could not be heard clearly at times, and the same occasionally happened to the lead vocalists. But for the amount of musicians onstage (about fifty), the sound was immaculate. Mixing a band of eight is a daunting task, let alone an entire symphony on top of that. It also speaks to the musicianship of the orchestra members who sit in the pocket perfectly with the blend of the band. All around, the musicianship, stage production, and songs were wonderful and classy, and it was an entertaining evening of fabulous music.

“Chitty Chitty Bang Bang” performance at Walkerville Collegiate Institute- February 22, 2019

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Picture it: you pull up to Walkerville High School and enter through the giant arched doors. You are greeted by a warm atmosphere filled with smiling PTA moms and young students collecting ticket stubs. Immediately you are surrounded by a familiar feeling of childlike joy, the energy of the show buzzing through you already.

I’ll be entirely honest. I heard that WCCA’s big production this year was going to be Chitty, and I had to ask my sister and about three other adults what the heck it was actually about. From what I had gathered, it was a movie made in 1968 starring Dick Van Dyke with musical accompaniment by the Sherman brothers. I remember listening to the soundtrack once before a couple of years ago. After the first couple of songs, it grew almost impossible to not hum along with the catchy tunes and tap your foot to such lighthearted melodies. If the music was the one thing to base my judgment of this play on, then my expectations for a “truly scrumptious”, family-friendly adventure were exceeded.

As I’m sitting in my seat and looking around at the little kids with their parents, and people carrying bouquets for their kids in the show, the overwhelming pitch of the pit orcestra tuning flutes and clarinets engulf my ears. As soon as the lights went out and the spotlights came on, the imagination began to shine through.

My mind was automatically blown away with color and sound as soon as the Van Dyke protege started to sell his whistling invention during the “Toot Sweets” number. Watching this number you can’t help but bob your head as the kids are singing about sweet treats. Something that is so creative is how the cast and crew have immersed the audience into their show, so you feel as though you are a part of their choreographed routines and banter. In the middle of this number, the kids dance off into the aisles and through the seats picking up members of the audience, spinning them around in time to the beat. At that point, you could literally see people of all ages laughing and playing along- you feel as if you had transported yourself back to a time in your life where everything was joyous and carefree and it felt like a magical piece of your childhood could live itself out at that moment.

Breaking the fourth wall, was a concept that was intricately woven into the musical’s design. Both the music and stage directors worked to create a spectacle that keeps the audience not only entertained but engaged.

By the end of Act 2, the student band becomes much more involved with the musical’s plotline dressing up as guests to the Baron’s extravagant birthday party, it has a simple way of bringing the score to life and encouraging audience participation. The characters Baron and Baroness of Vulgaria, if their names give anything away, are positively volatile but make up for it with their horrible accents and humorous ways, whilst declaring their love (“Chu-Chi Face”). The song “The Bombie Samba” is a particular fan-favorite amongst the crowd due to the fact that while the Baroness is singing she would literally cut off the band’s playing abruptly to ridicule them to play better because she “is never off tune, not ever”. How the actress does this with a straight face is remarkable because it was possibly the highlight of the show.

The happy ending ensues soon after when the lights come up and the show appears to be over but not one person seemed to mind because they were instantly transported to a happy memory of their life. This musical had the power to give them that and to put a smile on their faces… all because of a magic flying car!

If you have a free moment next weekend, why not check out the magic?

-Genna Dara

Allison Brown’s “Post-Valentine Celebration” at Taloola Cafe

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-Allison Brown emotionally singing at Taloola cafe

After a stressful week I was excited to wind down, drink some coffee and listen to some live music. It didn’t take much to convince my coffee-obsessed friend to join me on this night adventure. We heard from a friend that they make the best Vietnamese iced coffee, so we had high expectations. Once we walked in and passed the vintage red chairs, we ordered our ice coffee and tried to find a seat. We ran into some difficulties when we realized there were no seats available. There was no way we were taking our coffees on the go, I needed to see tonight’s performance. So we squeezed ourselves in the back and sat on flimsy foldable chairs. It was rather “cozy” not only because we were 2 inches away from other people, but because a  warm heater was directly behind us. Nonetheless I liked the vibe of the place, the ceiling was an orange hue, and the lights were dimmed to a hazy yellow. It was comfortable and the brick wall was covered in antique style pictures, maps, mirrors and statues. It felt like a home rather than a coffee shop which made the live performance much more enjoyable to watch.

Luckily enough a table opened up and we quickly left our toasty seats for a front row view. Allison Brown was up on the small stage placed in the corner of the cafe. She conducted a mini sound check by strumming on her guitar and speaking into a microphone to check the sound. The abrupt sound did not stop the crowd from having their own conversations. Once Allison’s powerful voice filled the small room many tuned in to listen. It was a stripped down raw acoustic performance which is something I always appreciate. Her voice was filled with emotion and she took her time singing out each and every note. Not only could you hear the emotion through her voice, but you were able to feel it by looking at her face. With every long note she carried she closed her eyes and focused on her singing. She was in her own little world that she created temporarily with herself and her guitar. It created an intimate experience and being so close to her allowed me to focus solely on her without any distractions.  

While she was performing she was in her world; however, in between her songs she was engaged with the audience. She wasn’t afraid to crack some jokes just before covering Kevin Quain’s “Mr.Valentine’s dead,” saying “this is one of my favourite song sing on Valentine’s day… and on Halloween. I guess that says something about my love life.” Let’s just say she was glad Valentine’s day was over, and made many references throughout her gig about her “post Valentine celebration.” Single folks and even couples chuckled creating a light hearted atmosphere.

Near the end she played one of her original songs “Scavengers” from her 2015 album Stitches and Incisions. This folksy song allowed her to showcase her vocal range quite well. She was able to hit high notes so effortlessly without any traits of strain in her voice. Listening to Allison allowed me to be emerged in her music. Her soft and angelic like voice put me in a reflective state, and made me tune out my stressful thoughts and overworking mind. I could finally relax and focus on enjoying the music, and my perfectly balanced sweet and bitter coffee.

Even if Allison made a mistake you wouldn’t notice, she confessed after finishing her song “ I totally forgot the lyrics in the middle so for a while I was singing ‘blah, blah, blah.’” A woman who sat next to me responded back saying “with a voice like yours you don’t notice a blah, blah,blah in there.” With 20 years of performance experience she was an expertise at captivating her audience.

We Now Remember ft. Khari McClelland at Phog, Windsor ON

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There is a certain way gospel grasps the heart. It reaches out its musical hands and ignites the heart with one touch. I remember my first gospel concert was with my grade four teacher. Every Sunday we would go to a small church in Detroit to hear divine gospel sounds. Since then, I always found myself searching for that Sunday morning feeling. That feeling is home. It is a safe place. It’s a good old feeling you get when a relationship is created between you and your neighbor. Searching for this feeling led me to Phog Lounge to hear freedom singer, Khari McClelland, perform.

In a small rustic place with dimmed lights, and stringed outdoor lights to illuminate a small stage, a man’s voice was heard coming from the back of the room. Making his way through the audience up to the stage wearing a red beanie and a mustard color sweater, Khari McClelland, with nothing more than just his powerful tenor vocals, began to sing what sounded like a traditional slave song. Repeating the phrase “we are in this boat together,” Khari sang around the audience including every single person into his performance. The feeling that I was hoping to find finally resonated within.  

Phog Lounge was the perfect location for Khari’s performance because everyone that walked through the door became a part of a communal family. A regular, standing next to me, described Phog as “a room in my house where all my friends could gather to have a warm conversation and a jam session.” He could not describe Phog any better. Each person that stepped through the front door was greeted with a hug or smile. In the vibrant decorative space, a family joined together to watch a performance celebrating not only Black History Month, but also a celebration of understanding an apology, and redemption for those who suffered, and still suffer today, from marginalization.  

Upon Khari’s introduction to the stage, there were acknowledgements made to Windsor and Detroit Indigenous territorial names, which included the Ojibwa, the Odawa, and the Potawatomie. This made sense when I asked Khari why he named his tour We Now Recognize—he mentioned that “it comes from, Stephen Harper, Canadas’ former Prime Minister’s apology speech”. I really valued this because we rarely hear any organization or event acknowledge the traditional First nations names for the territories. It was simply an act of Truth and Reconciliation.  

Khari has a special way bringing spirituals to life. With every song sung came an up and down and every musical note that followed did the same. Khari’s musical sound incorporates blues, jazz, folk, gospel, splash of reggae, and soul. Each sound had brought back liveliness to all those songs that have been buried for years. Khari was accompanied by a guitarist, playing an archtop guitar; a keyboard midi controller for the organ, drum and bass effects; and a backup vocalist. My favorite track performed was a song from his solo album called, “Song of the Agitator” which moved the audience as Khari asked everyone to hum after each line he sung. “Cease to agitate/ we will when the slave whip sound is still” — “mmhmm.” This not only included everyone, but it also brought everyone together creating harmony that filled the small and intimate space.

Judging from the audience’s cheers and, of course, his grandmother and mother in the front seat cheering him on, the audience did not want to let Khari leave after his last song. We begged Khari to sing not one more song, but two more in which he delightfully delivered. Khari McClelland has a special charm that he delivers in his music, and I am certainly excited to see what he has in store for the rest of his musical journey. His music not only moves one, but it also moves all those silenced voices that have been repressed for many years.

-Maria

https://www.youtube.com/watch?v=B36DJl12Kgo

Lead Singer of Beams: Anna Mernieks “Wows” Crowd at Phog Lounge

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By Michaela Maxey

As my friends and I walk up to Phog Lounge, we’re greeted by a group of people smoking outside. One of the women smiles and says hello. We say hello back and then enter, engulfed by the living art that is Phog Lounge.

It’s impossible to live in Windsor, Ontario and not know Phog Lounge. It’s every students’ go-to place for drinks and music. It’s small with graffiti art on the outside of the building, a mosaic sun patterning the floor, and pictures/paintings from local artists decorating the walls and ceiling. If this bar had a slogan, it would be “We’re all broke here” – a complete haven for all who need a break from the stress of school and work for cheap.

I walk in and drop a few coins into a “Pay What You Can” jar, and proceed to a table close to the stage. The group outside walk in, and as the woman who greeted us takes off her jacket I realized it was Anna Mernieks outside the bar, and I’m kicking myself for not realizing it sooner. As I stand up to go talk to her, the opening act finishes, and I know I won’t get the opportunity until after the show as she moves towards the stage.

The audience is substantial for the size of the place, with people crowding in the doorways and any extra space they can. She hooks up her electric guitar and strums a few chords, making the place fall silent. It’s unlike anything I’ve ever seen. While the opening acts struggled to keep attention, Mernieks grabs it with ease. She thanks everyone for being here and Phog for hosting her, already setting up an air of professionalism that the other acts seemed to lack.

She then opens her performance with a slow song, an original called “3-Star System”. Her voice croons as she somehow encaptures a melancholy feel that I didn’t think could be possible using an electric guitar, and carries this feeling throughout her whole performance.

As she transitions into her song “Find Me”, and the next song “I Will Find You”, she begins to vary in pitch range. As she hits spectacularly high notes, I can only think that she gives Tori Amos a run for her money. Hard strumming from the guitar and enunciation at its finest, Mernieks doesn’t want us to miss anything from her performance.

Her next songs showcase her instrumental abilities. She’s constantly switching between rock and roll-esque sounds to soft and slow chords, all the while making sure her voice is at the forefront. I’m in utter shock as she transitions so seamlessly. Although some of the folks in the crowd begin to zone out, I’m completely encapsulated. As soon as she starts playing her second-last song of the night “Til’ The Morning Comes”, I know this one will be my favourite. It’s quieter than her last ones she played, so I’m very much aware of the people talking and ordering drinks around me. As I’m scribbling notes, she shocks me. Halfway through her song she gives a psychedelic sound that I didn’t even know was possible to make using an electric guitar. The audience seems to fall under a spell; they completely stop what they’re doing and solely focus on the music itself, the only thing that matters in this moment.

While the song comes to a close, I think back to seeing her outside and talking with people she may or may not know. It was a brief moment of relaxation before her performance that she carries to the stage despite so many people being here. Calm and melancholy, she weaves in and out of fast and slow paced songs, never settling into a specific sound.

She finishes her performance, and thanks everyone for coming. I hear someone at the next table say, “Wow.” I couldn’t agree more.

Setting The Stage: Terry “Lager” Lobzun Stuns Crowd

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Friday, February 15, 2019

By Chelsea Ives

Terry ‘Lager” Lobzun adjusts his I-Pad on his mic stand before starting his performance.

The looming building with tinted windows and The Pogue – Irish Pub gilded across them beckons you. A neon four-leaf-clover- shaped open sign buzzes merrily, and below it a wooden sign welcomes you with the Gaelic drinking toast; Slàinte – to your good health! You can’t see the crowd inside, but as you reach the heavy wooden door it swings open wide as a couple emerge laughing, floating out on the cacophony of bar chatter. You step in and are immediately enveloped by the warm conversation and the aromas of battered food and Guinness. The atmosphere is casual, easygoing – everybody is here for a good time, including the musician setting up in the front alcove opposite the bar.

A cozy gathering of locals waits, as Terry “Lager” Lobzun, a Wheatley wonder, sets up his equipment for the intimate audience, adjusting his mic with his guitar slung across his back and his suave tweed fedora perched on his head.

Finally, with I-Pad on stand, he plays.

And I understand why people call music transformative.

Terry’s face is transformed with emotion when he plays. Even for an audience of fifteen, Terry Lobzun’s soul flew through his fingers as he strummed, and his heart was on his tongue as he sang. The music fills your ears, but it’s Terry’s voice that fills your soul. It doesn’t matter if the songs are covers, he plays each with his own intensity and passion. His voice is a blend of Johnny Cash and Hozier – the perfect meld of old and new; soulful and breathy, like during his rendition of Howard Tate’s, “My Soul’s Got a Hole in It,” or Vance Joy’s “Riptide” – or driving deft punches in songs like Nathaniel Rateliff and the Nightsweats, “Son of a Bitch”. Every shout-out between verses is perfectly timed and playfully accentuated by a wink or eyebrow raise – always with a smile at the crowd. He had the perfect Barenaked Ladies fast-paced energy crammed into a tight space.

Terry strums emphatically, and his face reflects his passion for singing.

Terry played into the night off his own curated playlist or by request. Moving between folk, rock, and country songs effortlessly. I had the pleasure of asking Terry some questions during the intermission:

(Chelsea): “Do you make playlists with certain themes or audiences in mind for shows?”

(Terry): “Well I have a list of about 100 songs prepared – I never get through them all. But I just try and make sure everybody has a good time, I don’t really stick to a theme – that’s why you see I have my I-Pad up there – it’s a real Godsend,” he chuckles, “when you had music sheets, every time a door opened pages would fly everywhere and I’d lose my place.”

(C): “I noticed you take a lot of requests, but I heard you played an original song, ‘Just Breathe’ as well.”

(T): “I like all music, Gretta Van Fleet, George Ezra, Strawberry Alarm Clock…But I love to write songs. I have about 200 sitting in a file. Everybody can sing, but not everybody can write, and that’s what I like about it, it’s unique.”

Terry resumed by playing his original “401”. The name Stompin Tom jumped to my mind as I clapped along to the rhythmic country twang. The song is about a lover travelling down the 401 from Kingston to Windsor to surprise his girl, only to find that she had done the same. As Terry presented it with a humorous tone, “That damn radar gun – caught me goin’ 130 down the highway 401,” the crowd was roaring.

Terry plans to continue doing shows because he loves making sure people have a good time. His son, Preston, works at a recording studio in London, Ontario, and they plan on working together to get Terry’s original work recorded.

Terry, whatever you do, you will always leave your audience stunned. I’m eagerly awaiting more.

So Do dheagh Shlàinte! Everybody – to your good health as well.

Terry Lobzun’s fingers fly over the strings in “I Shot the Sheriff” while a local Wheatley man sings.

Celebrating 25 years and Valentine’s Day with Toni Braxton and SWV

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“Toni Braxton on Valentine’s Day? That’s a paradox itself”— My significant other said to me laughing after I told him I bought us tickets to Toni Braxton’s “As Long As I Live” tour. Toni is the “Un-break My Heart” sensation and known for having the most emotionally heartbreaking songs in the music industry, but this didn’t bother me because despite what she sings about, I just wanted to listen to this diva sing!

The venue was held at Detroit Fox Theater, an extremely elegant theater with a crazy amount of detail carved into every inch of the place, which turned out to be the perfect location for the R&B QUEEN to make her appearance. As a sucker for R&B, I was super excited to see SWV perform as the opening act for Toni. Surprisingly though, when SWV appeared on stage the audience’s energy was horrible! I thought to myself that maybe it was because of their age. I felt so bad as SWV tried so hard to get everyone out of their seats and dance. It was even more sad when they made a comment on the audience’s low energy level. However, when SWV sang their last song, “Weak”, their number one 90’s hit, I was in shock when everyone young, old, man, and woman, stood up and started dancing and belting out their sensational hit. It seriously felt like an old school jam session with your neighbor. It was the perfect remedy to get the crowd hyped up for the Queen’s appearance.

When Toni came out on stage she was wearing a sparkling and revealing gown to show off her amazing legs. I still don’t know how she can maintain her perfect appearance! I swear she looks even younger than most 30-year-old women. Stunting around in her slim fit dress and showing off her powerful vocals, Toni sang her way through her old school hits from the early 90’s to her recently released album Sex and Cigarettes. When Toni performed “Un-break My Heart” it was so emotional because Toni herself started to cry. Instead of the audience being locked into a room of awkwardness, the audience felt for her and cheered her on. Toni is seriously great for creating an intimate connection with her audience, therefore, at that moment she even had me crying with her. I never felt such a strong connection to the stranger next to me and the performer herself.  

 Everyone that knows Toni, knows that she has been divorced, separated multiple times, and recently had her engagement called off. Toni, the strong woman that she is, really showed off her strength when she performed “Sex and Cigarettes” and sang “I’m a mother fucking star”, while flicking her hair back and forth and shooting not one but two middle fingers in the air and completely feeling herself— “Like yes girl you are badass! And we love you for it!”    

Toni’s band was also an amazing attribute to her performance. I honestly forgot how lively R&B used to be. Toni had a bass guitarist, her music producer on a grand piano, backup singers, and a drummer to give her music life!  R&B today is so different then back then because the beats today incorporate keyboards, synths and other foreign instruments then those from the 90’s. Her music, stage set up, and appearance, made for an elegant and classy setting, kind of like going to a fancy dinner, but instead you bet your ass is dancing your way through those old school rhythm and beats.

Toni ended the night with her new hit song “As Long as I Live”, which fit perfectly into the overall theme of her heartbreaking performance. Leaving on a good note, this song made a statement: “for as long as Toni Braxton lives, she will always find a way to celebrate being in love as a way to learn and grow as person and an amazing performer.”

-Maria

Open Mic Night? Pass the Booze

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By Mina Wiebe

“Ugh, an open mic night? Do they at least sell booze?”—these were the first words out of my boyfriend’s mouth when I invited him to come with me to the Green Bean Café’s live music event. Suffice to say, I took that as a solid “no”.

Let’s face it, open mic nights don’t exactly have a reputation for being riveting musical experiences. I’ve called it “pretentious karaoke” in the past because quite frankly, they’ll usually let anyone up on stage. The Good, the bad, and the really bad. But as a lover of live music (and a lover of being stubborn as all hell), I was determined to find a talented example of the night’s lineup to prove him wrong. Out of this, I stumbled across Ron Leary.

I looked the local self-proclaimed folk artist up on Spotify and found myself charmed by the singer’s smooth vocals. He sang about lost love, a past of drinking, and other melancholic subjects that hooked me. I found myself listening to him on repeat until the night of the show, and armed with the ammunition I needed, I suddenly found myself with an optimistic tag-along.

The Green Bean Café is a cozy and quirky hangout favored by local university students. Oddly enough it’s located in a church basement but aside from the exterior architecture, you’d never know. The walls are decked out in charming fairy lights, abstract art, and other zany décor. A buzz of conversation fills the room with that recognizable warm, fuzziness that comes with the comforting atmosphere of a typical, local café.

We initially settled for the two seats closest to the stage, which I soon realized would create for a somewhat awkward experience since we were a mere three feet from where the singers were set to perform. Not wanting to be that cozy, we opted to move back a table. No sooner had we begun to sip our foamy drinks, had Leary plugged in his acoustic guitar and announced he was going to start off the night with a few tunes. And start off the night, he did.  

Pen and notepad at the ready, I almost immediately pushed them aside once Leary began to sing. While the others around us chose to continue typing away on their laptops and chatting amongst their friends, I gave my full attention to the stage. His sweet, breathy voice captivated my attention, and without hesitation I began to sway to the music.

Compared to what I had listened to over the past week, there was a noticeable difference in the performance; my company agreed, going so far as to lean over and whisper (and I quote), “well damn”. Whether it was due to my crappy headphones, or the fact that I was accustomed to Leary’s vocals accompanied by a mixture of guitar, drumming and banjo rather than the presently minimal acoustic guitar, we were surprised by a newly recognizable richness and depth in his vocal performance. In true folk style, his old-timey vocals were almost bouncy with varying pitches and shifting levels of raspy undertones.

As Leary transition into his second song of the night “Baby I’m No Good”, I clapped enthusiastically in recognition of my favourite song from his album “Tobacco Fields”. Again, I noticed a sharp difference from what I had grown used to on Spotify. The live use of a simplistic acoustic guitar left so much smore space to notice the texture and passion in Leary’s voice, and I appreciated the setup in its ability to allow his singing to be at the forefront. While the recorded layering of instruments and vocals was splendid, there was a certain raw crispness that begged me to listen during the live performance.

Leary ended up playing a set of five songs to open for the rest of the night’s performers, briefly interacting with the crowd in between. While I was annoyed by the lack of crowd response, it was also endearing to see that the passion still continued to ring in his voice. Open mic night or not, he gave a performance that I’d happily enjoy sober any day of the week.