The Wanted, on the last stop of the Canadian portion of their tour, sold out the Orpheum last night to a host of loyal fans...

The Wanted, on the last stop of the Canadian portion of their tour, sold out the Orpheum last night to a host of loyal fans most of whom were in their early 20s. The Internet figures more and more prominently in today’s society so when prompted, it wasn’t surprising to discover that many of the audience members were first introduced to this band from across the pond, through online music videos and music-based chat-lines.

This night, to find so many like-minded fans in the same place at the same time was clearly an invigorating experience. For many of the audience members it was the first time in such an upscale theatre as well, which only proved to heighten that experience. As the clock ticked its countdown to show time and the excitement mounted, the energy in the building expanded to eject a large group of young adults on the balcony level out of their seats, to the great delight to the viewers below, and into formation for an impromptu line-dance to the piped in music. 

Minutes later the lights dimmed and the band burst onto the stage.

The Wanted’s set list was a positive blend of love songs and playful, flirtatious audience interaction, which set many to screams of rapture when they were singled out from the crowd. They guys were on their game and they knew it, in the most delightful way.

Nathan Sykes, Siva Kaneswaran, Max George, Jay McGuiness, Tom Parker utilized the stage to the best of their ability and while there were no choreographed dance numbers or coordinated moves, they were all very aware of the others’ position on stage and were quick to fill in the gaps so every section of screaming fans had someone up close. 

Each band member took a turn at addressing the audience between songs, while the others playfully taunted each other in the background. The songs were divided among them and as each sang their part the others would often mouth the words: a supportive gesture often seen with Japanese entertainers.
They had a nice energy about them that sent up a steady stream of hand hearts, which they were quick to reciprocate.

Sykes, Kaneswaran, George, McGuiness, and Parker took their turn playing to the fans, and at one point in the show, brought six lucky fans onstage to be coddled and wooed up close. The men in the audience were clearly as excited as the women about this gesture, so given the nature of this band it would have been nice to see at least one of those lucky fans a male. 

During We Own the Night the band physically fell to their knees, which sent the audience to raptures once again. McGuiness asked the audience if they were done yet to which they screamed, “No!”. They then lit into the final act of their show, which culminated in an ovation that showcased their hit, I’m Glad You Came.

The Wanted is a band of young men who clearly realize the level of their charisma and its full potential. Their music is fun and engaging, and their fan base is strong and rapidly growing because, as is the glory with boy bands, there is literally something for everyone.

"Two acoustically beautiful venues on Seymour Street will find themselves surrounded by the sounds of BC’s vibrant, contemporary, classical (New Music) scene, featuring composer and guitarist John Oliver, the Art-Song Chamber ensemble the Erato Ensemble and Harpist Heidi Krutzen (March 26-30 7:30pm) 
Each night will be different musical events, featuring different performers. 


Venues: 
Vancouver Symphony Orchestra’s School of Music’s Pyatt Hall (843 Seymour Street, Vancouver).  
Orpheum Annex (823 Seymour Street, Vancouver)."


For tickets click on Sonic Boom 


The Sonic Boom Music Festival Schedule

March 26: 7:30pm: Panel discussion with experts on cutting-edge topics such as computer-generated music, mixed media performance, and electroacoustic works; featuring composer and guitarist John Oliver.

March 27: 7:30pm: Concert of musical works by British Columbia Composers performed by the Art-Song Chamber ensemble the Erato Ensemble 

March 28: 7:30pm: Concert of musical works by British Columbia composers performed by Harpist Heidi Kreutzen.

 March 29: 7:30pm: Concert of musical works by British Columbia composers performed by a variety of mixed small ensembles. 

March 30: 10:00am: Student Composer Master Class; featuring Julia  Nolan, saxophone, and Chris Morano, piano, facilitated by Composer and guitarist John Oliver. 

March 30: 7:30pm: Concert of musical works by British Columbia composers performed by a variety of mixed small ensembles. 

A night to remember with musical phenomenon, PINK.

Rogers Arena bulged with the sell out crowd that packed the seats for PINK’s The Truth About Love tour. From its Cover Girl intro to the wrap up, behind the scenes look at the concert’s preparation, the crowd was on their feet drinking in every second of the show.

PINK hit the stage with an energy and warmth that can best be described as, “connected.” With laughter and a smile that never let up she was clearly having fun, and so were her cast of musicians and dancers who animated the stage around her. The audience mused and hung onto every word, tuning in and losing themselves in the magic of the evening.

A revised version of Try was equally as good as the original, and performed with original dancer, Colt Prattes, a permanent part of the tour. 

Five or six songs into the show PINK broke from her album to perform Chris Isaak’s Wicked Game to a beautiful dance piece that sent a powerful wave of emotion throughout the crowd. Her strong, sure voice and ability to inject and project tenderness, literally rocked the crowd.

From there she moved into Just Give Me a Reason, with a background video performance from original collaborator Nate Ruess. This song drew a marvelous response from the crowd and the room reverberated with hundreds of voices singing out in unison, and lit up with the multitude of phone screens trying to capture the moment.

The backdrop of the stage was an eclectic mix of video screens, staircases, and risers. A significant amount of thought went into designing the visuals, props, lighting, and choreography. It was a very well planned show with an insane number of diverse, well-placed acts. The live-feed videographers were right on the money and brought us exactly where we wanted to be. They knew when to get in close, and when to take us to some of the other action on the stage. 

Statement pieces like the “White Russian” shot of Pussy Riot were not lost on the audience and they responded in kind. “Nice she did that. This just gets better and better,” yelled out a man in the seat behind me.

The costume changes and re-groupings were hardly noticed with the sporadic entertainment from her clownish MC Dr. Rubics. 

For Sober, PINK and her dancers maneuvered around a large, spinning, skeletal orb high above the ground. The choreography was clever in that it never allowed one performer to get too far from the others, but it has to be said that this was a particularly astounding and breathtaking performance in that it was the one act that was done without safety wires.
(no photo: photographer was frozen with fear)
PINK later left the stage briefly for two female performers to dance an emotional and romantically erotic love story that hushed and enthralled the audience.

She returned in a long, flowing white dress and bare feet, to sit at the piano where she spoke of her greatest gift: her daughter. She played one piece before moving to the extended stage to join guitarist Justin Derrico, and sing Who Knew. As she finished, a fan reached up to give her a drawing. PINK took the time to thank her and praise her work, and give another eager fan an autograph. The crowd ate it up.
Two of the back up singers joined them on stage as PINK and Derrico started into F**kin’ Perfect. PINK finished the song and danced back stage for another costume change, leaving the back up singers and Derrico to wow the crowd.

A testament to the stage design, the lights go down for a brief moment and PINK returns to a revised stage, complete with dance pole. She introduces the band, joking about which ones are and are not sluts, as they start into Slut Like You.

Slut Like You blends into Blow Me (One Last Kiss). This was the only song that seemed a little out of place in the show, especially if you have seen the music video. PINK and her cast were dressed like they flew in from the 80s and were bouncing around a velvet couch reminiscent of a scene from Grease. The first half of the song was shared between several singers, and sadly went awry. They were in tune, but not in key. It wasn’t until after a short instrumental before the second half of the song that everyone got on track again. They were simply having too much fun to have noticed. That led into (you guessed it) So What.

For this song, two of PINK’s smoking hot, half-clad men strapped her into a bungee-like waist orb and sent her flying and spinning the length of the arena. People jumped up as she sailed over their heads, trying to touch a hand or a foot. She belted out the lyrics and the audience sang with her as she came closer.

At various times throughout the show, PINK was either spinning around upside-down, on her back, bouncing from springs, or flying and spinning across the length of the arena. She not only had the breath to sing while doing all that, but was in tune the entire time: super pipes.

For her encore, and there indeed was one, she did the entire, astounding Grammy performance of Glitter in the Air, complete with soaker tub. 

The show had the feeling of a cross between a stage play and film, and ended with a complete role of credits listing everyone involved in putting the show together. This in itself speaks volumes to who PINK is as an artist and person. Giving credit where credit is due and acknowledging those around her on this grand a scale is epic.  

 Two and a half hours flew by faster than PINK on a wire, and we were having almost as much fun as she was.

So what is the truth about love? It all begins with you. PINK’s lyrics talk about loving honestly and unconditionally and making no excuses. She points out the importance of recognizing your gifts, and that if you want something badly enough, you cannot let anything keep you down: you have got to get up and Try. That’s perfect: F**kin’ Perfect in fact.  

Joe Satriani and his band heat up Vancouver’s Vogue theatre.

Joe Satriani’s Unstoppable Momentum Tour traveled across Canada to Vancouver last night, delivering an evening of insane musical precision and speed that wowed the audience to their feet.

This highly anticipated show opened with blues and gospel/dub band Sit Down, Servant!! featuring Canadian guitar genius, Gordie Johnson (Big Sugar) and Stephane Beaudin on drums.  Johnson and his band got the crowd rocking and was the perfect segue to the second half of the show.  

Joe Satriani is a renowned guitar player who has played guitar for Mick Jagger and Deep Purple, and collaborated with greats like guitarist Brian May.

Last night Satriani's band wasted no time tapping into the crowd, sending a rhythmic pulse through the room. Satriani let his proficiency on the guitar shine through when he broke into The Crush of Love. The song blended into a musical battle with guitarist Mike Keneally. Both men showed their diversity in style, tearing the house down to uproarious applause.

A rainbow of signature Fender Stratocaster guitars glistened across the stage and when Satriani made his guitar's whammy bar scream out the high notes, the audience held its breath.

Everyone shone on this stage. Guitarist Keneally gave Satriani a run for his money with a unique style all his own, bassist Bryan Beller held down the rhythmic lead and drummer Marco Minnemann lit up the stage with a drum solo that was captivating and injected with humour.

Satriani kept the audience moving and did not let up for a moment, with music from his incredible fourteenth album Unstoppable Momentum, and some older favourites like, Flying in a Blue Dream, Satch Boogie, Surfing With the Alien, and Always With Me, Always with You. 

It was a satisfying show to say the least, and yelled out for an ovation at the end, to which Satriani graciously complied. It was a night to remember.

For more info on Satriani's tour, click on this link to his website.

Local Indy pop-rock band, Mother Mother digs in for the long haul and firmly establishes itself as a solid force in the music industry with their latest album, The Sticks.

The Orpheum was sold out last night for the last concert in their 2012 cross Canada tour of their latest album, The Sticks. 

Mother Mother's new album hosts a number of solid, catchy songs with a message like, "Let's Fall in Love". When the band started into The Stand, it took a few bars to recognize the injection of the Pixies' Cactus. It was a nice mix that worked well and was not lost on the crowd. 

Infinitesimal was a big hit as was Bit By Bit which got the crowd dancing.
But it was especially clear this band has a solid following when they broke into Ghosting, a song from a few years back. Those who weren't already on their feet rose to belt out the lyrics along with the others. 

Quite often it's only the ground floor listeners who get to their feet, but people were dancing on the upper balcony. The crowd wasn't particularly raucous, no one shifted the chairs to form a mosh pit, but it was obvious they were having a great time. This album is more about asking people to use their heads to think, than butt heads with their friends. 

One of the most fascinating observations was the age range within the audience. The crowd was predominantly in their 20s 30s but there was a significant number of older fans in their 60s and 70s who seemed as well versed in the lyrics as the younger crowd. 

Mother Mother closed the show with Oh My Heart and Let's Fall in Love a finale that was satisfying all around. 

Be sure to check out their web site for news and updates at Mother Mother.

Music sensation Gotye packed the Orpheum last night which was no small feat considering the lineup that was in town at all the other major venues (Jane's Addiction, Young The Giant etc.)

Gotye's latest album Making Mirrors has been taking over the charts with hits like State of The Art, Easy Way Out, Save Me, and Somebody That I used to Know.

The lights go up and no time is wasted. Gotye gets right into the music the crowd's been waiting for. Making Mirrors came out last year but already the songs are known by heart and the titles requested. Gotye assures us he'll get to them all. The stage is filled with an array of unusual instruments and the band members jump effortlessly and regularly from one to the other. With every song there is a switch up of some sort giving us a clear understanding of just how talented these guys are.

At one point, perhaps as a nod to fellow Australian band members Midnight Oil, the entire band lines up at the front of the stage to play a song. Regardless, it's a great move that showcases all the band members on an even playing field and adds a warmth to the show that you don't often experience.

The band switches instruments for a new song when a very drunk woman stage left yells out “state of mind.” This brings a smile to Gotye's lips as they start into the voice synthesized State of The Art. Gotye seems invigorated by the call just the same and steps up the showmanship which feeds back into the crowd and gets more people up and dancing. Dig Your Own Hole is a song the crowd really responds to and the sides of the Orpheum begin to bulge with people vying to get closer to the stage.

When Gotye says he is going to need some help with the next song, people flood the stage. The men in the audience are given a couple of bars to sing and the women are given the same only an octave higher, then he kicks into one of the most enjoyable songs of the evening, Save Me.

Gotye then turns it down a bit to play Giving Me a Chance and in an amusing case of ironic timing, asks the crowd to acknowledge his amazing crew of techies and roadies only to experience some technical difficulty with the xylophone(?) seconds later. Gotye laughs it off and moves back into the music. The crowd is ready to keep dancing but then there's a hush that falls over the auditorium as every note of the beautiful song is taken in. Gotye ends by fondly expressing his appreciation for how quietly they were listening.

When it comes to playing probably the most popular and well known song from the album, Somebody That I Used to Know, it isn't certain what's going to happen. There is a significant third verse that is sung by New Zealand artist Kimbra on the official recording. Kimbra has been known to drop in to sing the verse when she's around, but right now she's on tour, and putting another female singer in her place for the evening seems weird.

Gotye starts the song and everyone gets to their feet. As the third verse approaches there's a palpable suspense that builds. Gotye doesn't hold his mic out to the audience: he doesn't even look at them. He keeps going like it was the most natural thing in the world as the crowd themselves belts out the first line of the verse. When he keeps moving like he's thinking about what they're saying, it sends a wave of enthusiasm throughout and voices get louder and louder until the verse is completed. Gotye chimes in with his part again and the crowd belts out the remaining background vocals. When the song comes to an end the room explodes with cheers. It's like every person in that room was on stage with Gotye for four minutes, and they were thrilled to be part of the experience.

In hind-sight it was a well planned manoeuvre that paid huge dividends: dividends the audience will enjoy for years to come.

For tour information, check out Gotye.

Pattemore shows his skill as he mixes his trademark drinks.

Then a few like Mess of Me, Always, and Enough (to let me go), from their latest, Grammy Award winning album Hello Hurricane.

The crowd loves it and front man Jon Foreman takes a moment to take it all in. The band clearly enjoys this as much as the fans.

Foreman gets up close and personal with the fans.

Switchfoot has a huge fan base of fans in their mid to late twenties, and is known for their Christian rock gospel music.

Switchfoot is a surfing term that means to switch your feet and take a new stance facing the opposite direction. "It's about change and movement, a different way of approaching life and music," says Foreman.

Foreman shows the fans what he means when he leaps out into the audience and makes his way around the room, balancing along tables and railing.

It was a great night. Good food, good drink, good company, and good music. What more could you ask for?

Switchfoot continues their tour around the US, Europe, and Africa.

Check out Mott's Clamato at an event near you.

BC Place Stadium christens its new arena with Roger Waters and his sensational The Wall Live tour.

Fans waited in great anticipation for the show to begin.

Some of Waters' biggest fans were lucky enough to get front row seats.

The lights went down and the henchmen arrived.

Streams of smoke and fire lit up the stage and uniformed men marched with enormous flags against Waters' iconic double hammer logo.

Then the boss came out!

The concert kicked off with part one of Another Brick in the Wall. On the screen behind him, Waters displayed the faces of victims of war and oppression.

One by one the bricks in The Wall filled with familiar faces ...

until, sadly, it was completely full.

There was no second-guessing his message.

Waters wiped tears from his eyes as he spoke to the audience of a man who'd been shot by the police in a case of mistaken identity. 

Part two introduced the "teacher".

A one story, inflatable marionette, designed by Gerald Scarfe, fell from the ceiling, waving a rod ...

and threatening the host of children who sang at its feet, We Don't Need no Education.

I Believe, was the message to the kids. Think for yourself, believe in yourself.

As the band played, the wall was built, brick by brick.

Waters later played against a backdrop of footage of himself from a 1980 concert in London on Mother. Though his voice had clearly changed over the years, (Waters sang over the recording) it was still as resonant as ever.

Powerhouse guitarists including Pink Floyd session/tour veteran Snowy White and Dave Kilminster kept the crowd happy with incredible guitar licks.

"Enjoy yourselves" Waters called out to his fans as the show came to a close. Roger that!

Roger Waters' The Wall Live was sponsored by LiveNation

When I first heard of Rock of Ages I have to admit I had no idea it was a musical.

I'd seen a hilarious trailer, for the soon to be released film, starring Tom Cruise in the role of super-egomaniac rock star Stacee Jaxx. The trailer was so good that it went straight to the top of my list of must see films so when I got the email announcing the opening of the stage musical, it was a welcomed surprise and a bit of a no-brainer: I was definitely going to see this show.

Wide-eyed with dreams of making it big in Hollywood, Sherrie (Shannon Mullen) leaves her home, somewhere in small-town America, and makes her way to LA. There she meets fellow dreamer and aspiring rock star Drew (Dominique Scott) and the two strike up a budding romance that unwittingly redirects itself to friendship. Hoping to get back on track, Drew manages to conjure up enough courage to approach Sherrie when sexually charged Stacee Jaxx (Matt Nolan) storms the scene, zeroing in on Sherrie to carve the latest notch in his holster. Drew and Sherrie break apart and head off in different directions until one day their paths cross again and they finally confess to each other what they've both always felt.

On the surface it sounds a little sappy, perhaps a little formulaic in structure, but this is one of the funniest, most cleverly orchestrated shows I've seen in a long time. The choreography is great, the actors superb and their timing impecable, the direction is incredibly well thought out, and there's some pretty spectacular singing.

The show is a little x-rated in places but in all fairness they peal as much off the men as they do the women, which is rare and refreshing. The pole dancers in the strip club scenes are particularly good, drawing hilarious gasps of admiration from the men sitting behind us, and the women in the audience are treated to a few moments of their own when Stacee Jaxx strips down to his body hugging briefs (remember the scene stealing UPS guy from Legally Blonde? That's him ladies).

The scenes are funny but the gold is in the details. Some of the smallest moments in the show are where the gems lie and it's those details that had the audience laughing and clapping throughout the performance.

The show really hits its stride about half way through the first act and by act two it inspires an infectious game of “can you name that song in three notes or less.” The crowd eats it up, laughing as they place the songs within the context of the action. At points when the tension is high and the audience deeply engaged, there's an exchange that breaks the fourth wall and brings the viewer into the action. It all works with synchronous precision guided by our insatiable host, Lonny (Justin Colombo).

Enough can't be said about the music. Chris Cicchino, Maddox, Andy Gerold, Alan Childs, and Darren Ledbetter make up the live band that pours out song after song. These guys are all professionals having played with anyone from the Smashing Pumpkins to Marilyn Manson.  

Rock of Ages is for anyone of any age who knows even a little about what was happening with rock and roll in the 80s: even if you weren't/aren't especially fond of the music from that era the show itself will make you a believer.

Rock of Ages plays at The Centre for the Performing Arts, May 8 – 13, 2012

Canadian singer-songwriter Chad Brownlee talks about his new album Love Me or Leave Me, scheduled to be released this Valentine's Day.

tV: Where do you get your inspiration for your music: for this album?

CB: It comes from a lot of things. Everyday life: conversations, things that happen to you, current and past emotions. There are so many different avenues it’s tough to put your finger on just one place.  As a song writer you need to paint a picture of what people live in their lives and it’s finding those moments that can really speak to people when they hear the song.

I think a majority of songwriters would say that some of their best ideas come when they least expect it.

tV: Can you tell us a little about your creative process of putting an album together?

CB: It kind of makes itself. As soon as you finish one album, it’s almost like you’re starting to collect the songs for your next album. You’re just constantly writing and building on this library of songs. When it comes time to release, you have to pick you the best ones. Sometimes there are some great songs that don’t make it on the album. If you try to fit your album to a mold then you’re setting parameters, and that’s not the best thing to do when you’re doing something creative.
As you write more songs, it kind of takes shape on its own.

tV: What was the most difficult or challenging song from this album?

CB: That’s kind of a tough question to answer. Each song has its struggles and rewards throughout the writing process. It’s never easy sitting down to write a song but what makes it rewarding is when you sit there and think and throw all these ideas back and forth, and finally get something you’re proud of.
The tiny little struggles within a song writing session leads to those big rewards.

tV: Who’s been one of your biggest influences as a musician?

CB: There have been quite a few: Johnny Reid, Dean Brody, Doc Walker. These guys have been around a lot longer than I have. I really like to learn from what they do. I see myself as a bit of a rookie and I have lots to learn. I used to look to the guys I see most often and see what they do and what makes them successful.

Back when I was a kid Garth Brooks was the one who inspired me to get into Country Music in the first place.

tV: What would you personally like to see happen to the music industry over the next little while, perhaps some improvements that might help up and coming musicians get their music heard?

CB: The music industry is changing every day and it’s staying on that wave and the direction it’s going. Music is being listened to more than it ever has been. So it’s feeling the direction it’s going and not fighting that wave. Understanding how people are listening to it, and for new artists, tapping into that: you need to be an entrepreneur.

As an artist or a band, I think the biggest thing you need to do is understand the landscape and have a good team around you.

tV: What is your personal favorite on this album?

CB: The one that stands out for me is the one that’s probably the most different from all the other songs that I’ve released: it’s called Gimme the Love. It’s a little more edgy and has more rock to it.  I guess me being a guy, I kind of like it a little more (laughs): the testosterone in the song. It’s a lot of fun for me to sing and perform. I’m definitely the most excited about that one.

tV: What’s next for you after the tour?

CB: We’re doing the tour with Dierks (Bentley) and then going to Nashville shortly after that, then some meetings and getting some more writing done. We’re piecing together our schedule for the spring and summer and a lot of the dates are starting to come in so look for another full cross-Canada tour.

Brownlee is right about Gimme the Love, but truthfully, the entire album is insanely good. His sound is fresh, the songs well orchestrated, and his voice has that rich, relatable tone that draws you in to the core of the songs and wraps its arms around you in a warm embrace.

Chad Brownlee is not only one of Canada’s most brilliant singer-songwriters, he’s one of the most brilliant sing-songwriters to hit country music, full stop.

Chad Brownlee will be coming to the Centre For Performing Arts Feb 15, 2012 and his new album “Love Me or Leave Me” will hit the shelves on Valentines Day (Feb 14) 2012.