String Fling III @ Biltmore -- 01/28/15

For the third year running, members of Vancouver's Four on the Floor String Quartet have stepped into the spolight for a show called String Fling. The event sees the quartet -- who have backed up about 87% of all Vancouver bands -- front & centre for the night, to be joined by various local musicians to fuse indie rock with classical strings. Previous years have been at the Rio Theatre, but this year they took over the Biltmore Cabaret for two nights of stringy goodness.

The members of the quartet for the night were Michelle Faehrmann on cello, Elliott Vaughan on viola, and violinists Stephanie Chatman & Emily Bach, and they were occasionally joined by Sean Bayntun on piano. Each musician joining them had a quick set of a couple songs, with the quartet playing their own pieces between each set, usually of songs written by members.


After the quartet started the show, the first performer to join them was frequent collaborator, Dominique Fricot. He took stage with his acoustic guitar and a few heartfelt songs, the strings giving them added emotional weight, especially on "Strange Lady". He also got the crowd participating in a stomp-stomp-clap along to "Those Eyes", before proceeding to act as emcee the entire night, wine glass in hand.

Hannah Epperson was also no stranger to the quartet, being a rotating member herself. Normally a looper, she eschewed her pedal for the first show in a long while, as she had actual humans backing her this time. Her soft and beautiful voice lilted over the strings, and I really liked her second song, a brand new, heavy hitting song, which included Daniel Ruiz on drums (the first of his frequent appearances throughout the night).

The tone shifted a little as Dustin Bentall got up with a bit more of a rockin' sound. As much as the softer songs fit with the string quartet, I always like how seeing things a bit rougher sound. Which was pretty darn good in this case. His first song, "I Have Not Been Sleeping" was just him with the strings, but they were joined by Ruiz on drums again and Ryan Guldemond out on backing vocals for the title track to his latest album You Are An Island.

Wrapping up the first half of the evening was legendary bluesman Jim Byrnes, just putting on a clinic. He dazzled the crowd from his stool with one of his own songs, which he joked was one of the oldest of the night, and then a cover of what was definitely the oldest of the night, "Saint Louis Blues", originally recorded in 1914 by WC Handy. It would have been hard for anyone to directly follow that, so they took a brief intermission at that point.


After the intermission the quartet was accompanied by an interpretive dancer for their song, before it was time for Mother Mother Member Ryan Guldemond. In true Ryan fashion, he challenged the audience with a song about death and attending your own funeral (or not) in his first song "End of Me" and seemed genuinely humbled and honoured to be playing with the quartet, asking them questions and even engaging Elliott in a slight guitar/viola duel at the end of a song.

There was a few repeat acts from previous years, and the next performer Tonye Aganaba was one of them. With her guitar in hand, she jokingly assured the crowd that it was in fact working, after a bit of a technical glitch from last year. Her incredible, soulful voice filling the room for one of her own songs, as well as a powerful cover of Thom Yorke's "Black Swan".

And finally, Bend Sinister's Dan Moxon was the last to play. Taking a seat behind the piano, he played a couple of the band's slower ballady songs, ending with "Careless", but first playing an absolutely gorgeous rendition of "Don't Let Us Bring You Down" -- which may have ruined the song for me, since now I only ever want to hear it with strings.

But that wasn't quite the end, as the quartet was drawn back on stage for one last song, as they were once more joined by Dom Fricot, for a fun cover of INXS' "Never Tear Us Apart".


The only downside this year was the venue. I feel The Rio was a much better place for this kind of show, as while the Biltmore was seated, it was still more of a "club" venue than a "soft seater", and from where I was sitting I could hear incessant talking and chatter all throughout the night. It detracted a little from the show, especially when the quartet was playing beautiful instrumentals.
But that is hardly the musicians' fault, and aside from that it was a great night. String Fling has continually been one of the most unique events in Vancouver, giving these amazingly talented string players, who are usually backing up other bands or off in the wings, the chance to take centre stage and shine.

Bend Sinister w/ Dominique Fricot @ Performance Works -- 02/23/13

For eight years now, Vancouver Coastal Jazz has been putting on the Winterruption festival on Granville Island, a celebration filled with food and performance and arts and dance and music. This year, one of the featured shows was one of the first Vancouver "indie" bands I got into, Bend Sinister. And joining them was another Peak Performance Project veteran.

Performance Works was busy early as just as many people were there to see Dominique Fricot, who had an all star band of of familiar faces backing him up: Hilary Grist on backup vocals (and keys for a couple songs), Mike Young on bass, Niko Friesen on drums, and members of the Four on the Floor String Quartet for a few songs.

With a full band, Dom's singer/songwriter sound was rich and grandiose, especially the few songs that included strings. He played some familiar, like the catchy "Burn And Start Over" as well as a few new songs throughout the set, including one called "Mother's Day", a funky and soulful tune.

At the end of the set we got the rare opening-act-encore as Dom came back for one last song, joined by his string section for the title track to his latest EP If Baby Could Walk. 

Fricot is full of charisma and charm on stage, with a good sense of humour when bantering with the crowd, and his songs are full of emotion. But while he is definitely talented, I still think he just needs a bit more of an edge -- some extra kick -- to really set him apart.

setlist

Seashore, Those Eyes, Burn and Start Over, Mother's Day, East Coast Girls, Time is Limited, Haunted by Love, Strange Lady, Our Last Song, Out of the Scenery.

(encore) If Baby Could Walk.

It wasn't long after that when the night was kicked into high gear, with the psychedelic prog-rock-pop of Bend Sinister as they exploded with energy right off the bat with "She Don't Give it Up", the first song from the new album Small Fame. They hardly let up throughout the set with great intensity from all four members; Dan Moxon is a monster on the keys, and he was flanked by guitarist Joseph Blood and Matt Rhode on bass, both of which had rock star energy with their power stances, standing on or straddling the amps, and engaging the crowd to join in.

Highlights from the set included Jason Dana's insane drumming on "CT", the anthemic and uplifting "Things Will Get Better", and the great combo of "Hot Blooded Man" and "Black Magic Woman", an explosive rocker followed by a more sultry jam, complimenting each other perfectly.

After a cover of Billie Joel's "Movin Out" before ending the main set with the older favourite "Time Breaks Down". But of course, they were back out for a few more, including their regular cover of Supertramp's "The Logical Song" -- a band who they've drawn comparisons to -- and finishing it off with the huge and epic "Quest For Love", Moxon's showing off the raw power of his voice for a perfect ending to the set.

As mentioned above, Bend Sinister is one of the first local bands I really got into, and they still remain a favourite. Their songs are amazingly catchy and there are not many other bands that can match their energy and intensity on stage.

setlist

She Don't Give it Up, Man of Faith and Virtue, CT, Jimmy Brown, Got You On My Mind, One Shot, Don't You Know, Don't Let Us Bring You Down, Things Will Get Better, Dr. Lee, Hot Blooded Man, Black Magic Woman, Movin Out [Billie Joel cover], Time Breaks Down.

(encore) We Know Better, The Logical Song [Supertramp cover], Quest for Love. 

String Fling w/ Four on the Floor String Quartet @ Rio Theatre -- 12/13/12

Even if you don't know them by name, there's a good chance you've seen some members of the Four on the Floor String Quartet playing live. As a group or individually, they've been a part of the Vancouver music scene for a while, playing with local artists like Adaline, The Belle Game, Kyprios, The Matinee, and many others, as well as having members of the quartet taking place in every Peak Performance Project as a part of various backing bands.
But they've decided to step into the spotlight and put on the first (of what I hope is many) String Fling, which saw members Hannah Epperson, Michelle Faehrmann, Tony Kastelic and Dougal McLean inviting some local acts to the Rio Theatre to play some of their own songs, with string accompaniment. And as someone who has always had a soft spot for strings in music, I was definitely interested to see how they came together with some of Vancouver's finest.

The show was broken into two halves, with each the performers playing a few songs and a steady flow of music with Four on the Floor performing between acts, with songs from their members or spoken word poetry over top of some strings arrangements. They opened the show with a songs before being joined by the first performer of the night, Ali Milner. With her gorgeous voice and jazzy piano, the strings blended really well with upbeat songs like the catchy "Waiting" and the dynamic "Fly".

After a spoken word interlude, they showcased a couple of their own solo projects, first Dougal Bain McLean with a could laid back, singer-songwriter-type songs, followed by the looping violin and lovely voice of Hannah Epperson, joined by Ajay Bhattacharyya on a drum machine for the aptly named "We Will Host A Party".

Ajay stayed on stage, joined by his bandmate Amy Kirkpatrick as Data Romance was up next. There was a bit of technical difficulties before they started, but Hannah covered fairly smoothly and they soon launched into their dark and moody, synth-infused electronic vibes. They played a couple new songs, teasing a new album in February, but I think they meshed with the string quartet least well -- which isn't to say it was bad in the slightest, just a clash of styles. That is, until their last song which was a bit more low key with Amy's ethereal voice soaring with the strings to close out the first half of the show.

After a short break, the second half opened with a spoken word piece from the quartet before Dominique Fricot took the stage. He is definitely no stranger to playing with Four on the Floor -- they helped him land third place in this year's Peak Performance Project -- and so he meshed the best with the quartet of all the performers. The acerbically charming Fricot talked and joked with the crowd, taking advantage of their relaxed atmosphere to play a couple slower, quieter songs from his repertoire, including the title track to his recent EP If Baby Could Walk. 

The next interlude, featured another spoken word piece, this time it segueing into the quartet playing the epic Game of Thrones theme, which was as fantastic as it sounds.

Of all the acts of the night, I was most interested to see how Shaun Verreault's bluesy sound mixed with the strings, and he introduced his first song as one least likely to be backed by a string quartet; Wide Mouth Mason's "Love Not Loving You". Originally a raw, distorted blues-rock song, it was turned into an absolutely gorgeous and heartbreaking number that ended up being my favourite of the night. His next couple songs were from his own solo albums, both a little more suited for the strings accompaniment, giving his amazing guitar playing and powerful voice an extra kick.

After one last Four on the Floor interlude, The Gay Nineties hit the stage to close out the night with their energetic and infectious rock. The first song had guest vocals from the powerful Colleen Rennison of No Sinner, and their raw energy was enough to get people up and dancing at the front of the stage. They sounded pretty much exactly like themselves, but with the addition of strings, which wasn't a bad thing at all, and they were definitely a good choice in closing out the night.

The pacing of the show was fantastic, with it never dragging on or seeming long, and for the most part everything ran like clockwork. It was a great night of music with a fantastic premise, and at the end of the show, they hinted at already planning a second one, and I already can't wait to see who Four on the Floor will be collaborating with for another.

Peak Performance Project Showcase #5 @ Red Room -- 10/18/12

The Peak Performance Project is a multi-year contest in which The Peak, along with Music BC, picks 20 BC musicians/bands a year and makes them stars. Past winners are We Are The City, Kyprios, and Current Swell with a ton of great bands and artists included as well.

Part one of the project was a rock & roll boot camp where they went on a week long retreat to get lectures and advice from industry pros to help them refine their craft. Phase two is a series of shows at The Red Room, four artists a night for five weeks, each playing a 45 minute set. The bands are rated by a panel of judges, which will go toward their final score in the project, and they've also been tasked to learn a "Classic Canadian Cover" to play during their set. I always love hearing bands play cover songs, and I am definitely looking forward to see who each act chooses (and, as in the past, I am going to keep a running tally on how many Arcade Fire, Neil Young or Leonard Cohen songs we get).

The final showcase of this year's Peak Performance Project, it was a bit of a bittersweet night. The Red Room was packed with fans and other musicians alike, all soaking in as much as they could, like the last days of summer camp. It was also a showcase I was looking forward to, with three acts I haven't heard as much as I'd like from, and one of my favourites from this year's crop of bands. 

Mike Edel: I missed the first couple songs from Mike Edel (the Red Room is notoriously slow letting the large lines in), but luckily caught the majority of the set. He had a few familiar faces in his band, Colin McTaggart on guitar and Kiana Brasset on violin & helping out on vocals. With a bit of a low key, folk driven sound, his set was good, and he has well written and heartfelt songs, but I didn't think there was much to set him apart; either from the rest of the top twenty, or from his genre.
He chose "Heart of Gold" from Neil Young for his cover, which was a fine interpretation, and just when I was thinking he needed a bit more of an edge, he wrapped up with the two most dynamic songs, "The Country Where I Came From" and "More Than The Summer". The former starting soft and slow and burst into an energetic ending, and the latter keeping that energy up; a good pair to end off on.
(Disclaimer: I have considered that, since I missed the beginning, I started in a bit of a mid-set-lull, which was the basis my opinion)

T. Nile: With a banjo in hand, a sharply dressed band, and a large parasol at the back of the stage with images and videos projected onto it, Tamara Nile took the stage for her set. She had a darker folk sound, with a bit of an electronic tinge, and a strong voice to drive the songs. She is definitely a good musician, but I didn't think anything really stood out from the set; it could have been that the Red Room can be merciless to the acts that sway on the folk or quieter side, but I didn't find myself drawn in. 
She brought out Graham Madden from Tough Lovers to help out with her Canadian cover, Byran Adams' "Cuts Like A Knife" (which has shown up in previous years) and ended the set with her current Peak-single, "Running", which was a good example of her electro-folk sound, and my favourite of the set. 

Dominique Fricot: No stranger to the Peak Performance Project, Dominique Fricot was in the first year as part of The Painted Birds. But now Dom has struck out on his own and is in this year as a solo act, backed by a band with some notable Vancouver musicians. The main members included Rob Tornroos on guitar & Niko Friesen on drums, and he also had Hilary Grist helping out on backup vocals and members of Four on the Floor on strings for a few songs. 
There are a few bands or musicians this year that I thought have been talented, but just need that extra edge, or just a little something to set them apart, and Dom is one of them. He has a great stage presence and charisma, and you can tell he pours his emotions into his songs, but they just need a bit of a kick to set them apart. 
His sound has a strong 90's alt rock influence, and there were a few songs, such as "Burn and Start Over", that were quite catchy. He didn't stray too far from that 90's influences with his cover of "You Don't Love Me" from Philosopher Kings, which featured Adaline out on backup vocals. The duo's voices mixed very well together, and Dom was at his most outgoing and energetic on stage during the cover. 
That being said, Fricot does have a certain appeal, with huge supportive fan base (which is well deserved) and I would not be surprised (or disappointed) to see him in the top five. 

Portage & Main: I've made it no secret that I have clear favourites in this year's competition, and Portage & Main was one from the get-go. They've been my pick to win it from the start, and their set just strengthened that opinion. The folk-roots-rock band kicked off in high gear with the rocking "Sweet Darling" and hardly looked back.  Even with some of the slower songs, they managed to keep up a high energy, especially both John Sponarski and Harold Donnelly, who play off each other so well.
Their cover was another Bryan Adams tune, "Summer of '69", which was not really a bold choice, but a good interpretation, slowed down and rootsy, more geared towards their style; and they had a good chunk of people singing along with the chorus. 
They brought the set to a big ending, inviting nearly everyone involved in the PPP on stage to belt out the chorus of "Oh Carolina" -- as well as the crowd -- for a huge singalong, and a great showing of camaraderie for all the bands. Some of the musicians even didn't want the experience to end, staying on stage chanting "Oh Carolina" after the band was done. 

And with that, the showcase series is over. Now is when the the business side of the competition kicks in, with the bands each having to write a business report -- showing it's not just about how well the musicians play, but how industry savvy they are as well, There is also the voting process, which counts towards their "final grade". So head over to the Peak Performance Project website to vote for who you think should take the top stop, and cross your fingers. The top five will be announced on November 1st, and the top three will play the grand finale on November 22nd at the Commodore, to find out who wins $102,700.

Then & Now @ Biltmore -- 08/21/12

The brainchild of Vancouver's beekeeper, Then and Now was a simple concept; take ten artists and get them to play a brand new song and an old song-- their current favourite that they're super proud of, and one of the first songs they wrote, that they may be a little embarrassed by.
The night was also a fundraiser for Megaphone, a local magazine that is sold by the homeless or low income people, who get to keep the profits of their sales.

The night started with a couple amazing songs from aboriginal blues artist Murray Porter, followed by Brandi of Sidney York, who took the concept to its extreme playing her very first song and brand newest song -- the latter being a sexy cellphone song (no, seriously). Dominique Fricot followed, with his "then" song being a song he wrote for his high school grad.
Hannah Epperson sang a short song she wrote when she was eight, to sing as a pre-dinner prayer of sorts, before amazing everyone with her incredible violin looping, and the first half of the night was wrapped with with Katie Rox, first singing a song from her old (industrial) band Jakalope before being joined by Brandi and Luke Cyca for her "now" song.

After a brief intermission Colby Sparks kicked off the second half, being a bit of an odd man out, genre-wise but certainly not talent-wise. His old song was him playing saxophone overtop of some beatboxing, while his new was a complex series of samples that had everyone's heads bobbing and shoulders shimmying in their seats. Ma Petite came up next, first rapping(!!) a silly joke rap group she had in high school, and playing one of her first songs, a sappy love song before her newest one.
David Vertesi was up next with his new song being from his latest album, but his old song from his high school band, Touched By An Uncle, called "Sean Connery" which was a love song to the titular actor. And it was as goofy yet amazing it is sounds. Jody Glenham followed him, with her old song being "Coffee Soaked" played on guitar instead of a piano and her new song being written on a bar stool in the back of the very venue she was playing in, the Biltmore.
Finally, wrapping up the night was beekeeper, playing a full electric set. Their "then" was not an embarassing song from Devon's past, but a song from their first album, BE KEPT, and their new one was a brand new tune called "Don't Need Hope, Need Whiskey"

It was a really fun night with a great concept, and while the show never felt like it dragged -- the hosts Devon and Lana Gay did a fantastic job during the quick turnarounds, and many of the musicians had amusing stories to go with their songs -- the show ended up running three hours, with the break. Next time they put on an event like this (and I sincerely hope there is a next time) I hope they pare down the lineup a little, but not by much.

Wachu 7 w/ Dominique Fricot & Sidney York @ Electric Owl -- 10/14/11

A while back at New Years Eve's One Night Stand, a tall gentleman by the name of Dominique Fricot won my over with his voice and presence, and since then I had been meaning to see one of his shows, but there were always conflicts. Then along came the seventh show in the Wachu concert series, with not only Fricot on the bill, but also one of my favourite new artists, Sidney York -- who I've only seen once, at a venue with sub-par sound. So how could I resist?

First up, though, was David Ward, a co-organiser of the Wachu series who plays all the shows. He and his band were incredibly tight, with a good stage presence and a pretty eclectic mix of songs, but never being too directionless. The set including a pretty cool cover of "Helter Skelter" and a funked-up number called "Pace", which got a few people singing, and at one point he was joined by Fricot & the lovely ladies of Sidney York for a song. They ended with a gospel-inspired song, which filled the till-then empty dance floor with people clapping along.
It was a fun set, and while I may not be clamouring to see them live again, I will definitely be keeping an eye out for the next Wachu show, especially if it has this good a bill.

Next up was Sidney York, with six-piece band that including an oboe (Sheryl Reindhardt), bassoon (Krista Wodelet), a couple beekeepers, Devon and Luke, and Brandi Sidoryk going from guitar to keys to ukulele and even french horn. Starting with the kind of dark "Math and Fractions", the set exploded with "Cold In Here" and "Roll With Me", both showcasing Brandi's amazing presence on stage, as she was just bubbling over with energy the whole set.

After the building intensity of the title track to, Apocalyptic Radio Cynic, the guys on stage taking a break for "Go Home, Atticus Jones" with Sheryl & Krista staying out for the haunting song. The crazy infectious "Dick & Jane" not only got everyone clapping along, but also whistling (or attempting to), and after the steamy "Doctor, Doctor" they wrapped the set up with one of my favourites, "Mile High Love", with Fricot and Ward up to help with backup vocals. 

The sound was definitely better than last time, but the Electric Owl is still new and learning (hopefully) so there were a few moments of feedback, but other than that it was a great set, and I already can't wait to see her again (which will come soon enough)

And finally, rounding out the night was Dominique Fricot, who was joined by Caleb from Parlour Steps and Rococode's Johnny Andrews & Shaun Huberts as his band. Starting with a pretty rocking and catchy song, his sound and voice initially gave me a bit of a 90s vibe (but not in a stale way), and both grew in depth as the set went on. Fricot had a really good presence, and even though there were a couple lulls between songs, it was never really enough to kill momentum.
Part way through the set, former Painted Birds bandmate Shawn Berke joined them on keys for one song, which I didn't catch the name of, but was a really intense, building song and probably my favourite of the set. The band took a break for a newer song, from his upcoming album, "Haven't Seen Me Dance" before coming back for a really heartwrenching song (which, again I missed the name of) and then the stage filling with David Ward and everyone from Sidney York joining in for the last song -- with some fantastic backup vocals from Brandi -- for a great end to the night.
Hopefully it won't be another nine and a half months before I am able to see Fricot live again.

Shows of October

Well, I did this last month, so let's try it again, shall we? Here are some of the shows I am excited about in the month of October. It's a pretty stacked month, with lots of great shows announced so far (with a few conflicting ones, too).

Big Sugar with Wide Mouth Mason at the Commodore on October 21st & 22nd.
Top of the list would have to be this show, no question. I was at the Commodore eight years ago for what was, at the time, Big Sugar's final Vancouver show and it was phenomenal. I was thrilled when they got back together, and when they announced Wide Mouth Mason -- who Gordie Johnson now plays bass with -- would be opening? well, their show at the Yale in January has probably been one of my favourite shows of the year, so that's just extra added awesome.

Chad VanGaalen at the Rio Theatre on October 15th
Even though Pop Okanagan is happening this same weekend, I am pretty sure seeing CVG live trumps an entire festival. It will be two years to the day (and, in fact, at the same venue) since I last saw him, which is far too long. (Accompanied video not mine, was taken from the last show, with Julie Fader on keys)

Kathryn Calder at the Biltmore on October 27th
Even though I've seen her a couple times this year, Calder is always incredible live. Her new album is out soon, and I am very much looking forward to seeing her live again.

Dominique Fricot with Sidney York at the Electric Owl on October 14th
Ten and a half months. That's all it took between seeing him at One Night Stand and finally seeing him perform his own material. Which is inexcusable. And of course, there's Sidney. The only time I've seen her was at a venue with sub-par sound, so I am very excited to see her somewhere that will sound good.

And the conflicts? That lies with the aforementioned Big Sugar/WMM show as well as:
Sidney York with The Ruffled Feathers & The Belle Game at the Railway on October 20th.
Zeus at the Biltmore on October 21st
The Zolas & The Liptonians on October 20th at the Electric Owl and October 24nd at St James Hall
So. There's all that. Zeus is a fantastic live band who haven't been here since the (incredible) Bonfire Ball tour. The Liptonians blew me away live earlier this year, and pairing them with The Zolas is perfect. And the show at the Railway has just an excellent lineup. There could be a way to see all the shows, but it might be tough!

Oh, and there's the last Peak Performance Project showcase with Maurice, Lindsay Bryan, 41st & Home and Rococode on the 6th at the Red Room well as Danny Michel with Jody Glenham at the Biltmore on the 13th, which should be fun, and of course, the Foo Fighters at Rogers Arena on the 25th. But as much as I love the Foos, and as great a live show as they put on, I have a feeling I won't be able to make this show unless I somehow get press, or win tickets...

Whew. That's a lot of shows.

One Night Stand III @ Media Club -- 12/31/10

Last year, I said: "the best way to describe what happened last night would be that it was like watching a huge group party of Rock Band. Except instead of your tone deaf, rhythm-less friends, it was actual, talented musicians. And instead of plastic instruments, it was the real thing". And while it's pretty lazy to just copy and paste that, I can't think of a better description of One Night Stand III. All year I've been talking about the magic of Vancouver's local scene, and the third instalment of this New Years Eve party was the culmination of that, with a dozen musicians from various bands coming together for a night of cover songs. 
The band consisted of Adaline, Andrew Braun, Johnny Andrews & Laura Smith (Rococode), Brian Healy & Rob Tornroos (Elias), Dominique Fricot, Hannah Georgas, Jasmin Parkin (Mother Mother), Josh McNorton, Peter Carrutthers (Said The Whale), Robbie Driscoll (Hannah Georgas) as well as a surprise guest for a couple songs. They rotated on and off stage all night, except for Johnny Andrews, who was on the drums for every single song (but one), and played nearly three hours of music, across three sets.

The first started at 10 and consisted of:
Call Me (Blondie)
Signed, Sealed, Delivered (Stevie Wonder)
Just Like Heaven (The Cure)
Someday (The Strokes)
My Moon My Man (Feist)
Love Fool (The Cardigans)
Where The Streets Have No Name (U2)
Glory Days (Bruce Springsteen)
All These Things That I've Done (The Killers)

One of my favourite covers of the night came early with "Just Like Heaven", a song I adore. At first I though Hannah was an odd choice to take vocals, but as soon as she opened her mouth, I was proven wrong (really, I should have known better). The set saw Hannah, Smith and Adaline taking a lot of the vocals, with both "My Moon, My Man" (Smith) and "Love Fool" (Adaline) also being great covers. After that Dominique Fricot -- who was actually too tall for the decorations -- came out for a pretty spot on Bono, and the set ended with the crowd chanting along to the chorus of "All These Things That I've Done". Though I have to admit, I was a little sad that The Killers got a much bigger reaction than The Cure.

Second Set:
Sledgehammer (Peter Gabriel)
Enjoy The Silence (Depeche Mode)
Pump It Up (Elvis Costello)
Breakdown (Tom Petty)
This Charming Man (The Smiths)
Rehab (Amy Winehouse)
Creep (Radiohead)
Where Is My Mind (The Pixies)

This set was a little slower in tone, but "Sledgehammer" was another great cover, and Robbie Driscoll stepped out from behind the bass to channel some Costello for his only song on vocals.
The set ended with a bit of Mother Mother, as not only Jasmine came out to sing, but there was a surprise appearance by Ryan Guldemond joining the group on stage. He brought the final set of 2010 to a close with one of his favourite songs, "Where Is My Mind". It was definitely another highlight of the night, and judging by the amount of singing (and ooo-ooooh-ing) along, I wasn't the only one of that opinion.

Third Set:
Never Tear Us Apart (INXS)
(I've Had) The Time of My Life (Bill Medley and Jennifer Warnes)
If It Makes You Happy (Sheryl Crow)
1901 (Phoenix)
Dog Days are Over (Florence & The Machine)
The Good Life (Weezer)
Bullet Proof (La Roux)
Loser (Beck)
Instant Karma (John Lennon)

And the first set of 2011 started with the customary slow dance, before continuing the dancing theme with a duet from Fricot and Adaline. Who, as far as I'm concerned, both stole the show throughout the night; especially after Adaline crushed "Dog Days Are Over" in another of the best renditions of the night.
Finally, after Hannah nailed "Loser", with the crowd joining in on the chorus, all the performers came back out on stage to cap off the night with "Instant Karma" -- I was expecting a Beatles song, I was close -- for another sing-a-long, and a fantastic way to both end the night and start the new year.

In all, it was an amazing night. While I think I liked last years setlists a bit better overall, the experience of the night, the friends and the atmosphere and everything, far outmatched it.
And since I started by shameless copy & pasting, I may as well paraphrase the end of last years post, too: "There is a saying or superstition, I guess, that says that whatever you're doing at midnight is what you'll be doing for the rest of the year. If that's the case, I can't wait for whatever this next year has in store."