3am Mixtapes: Episode Ninety Six: Love Songs

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general as best ballads. Some might be a little more... specific. Top Six Songs That Don't Sound Like Their Name Implies. 

After a couple weeks off due to sickness and "recharging", I am back with the Top Six Love Songs! (kinda)

Fall in love with:

"Still in Love Song" by The Stills
"The Second Summer of Love" by Pink Mountaintops
"Love Stained" by TV On The Radio
"Love That Sticks" by Rah Rah
"The City I Love" by Rich Aucoin
"The Love Within" by Bloc Party

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

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3am Mixtapes: Episode Eighty Six: Polaris '015

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general as best drum solos. Some might be a little more... specific. Top Six Bands That Sound Nothing Like Their Name Implies. 

While my goal is to not repeat topics on this podcast, I figures with a new long list of different albums, it would be okay to do another Polaris Music Prize themed episode. So this week is the Top Six Albums I'd Pick Were I a Polaris Juror in 2015! (Which I'm not). Well, five picks, and one overlooked album.

Vote for:

"Take Your Face Off" by Lydia Ainsworth
"Deserter" by Siskiyou
"Taste" by Braids
"Four More Years" by Rich Aucoin
"Cynical Bastards" by Arkells
"Harriet" by Hey Rosetta!

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

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3am Mixtapes: Episode Sixty One: Twenty-Fourteen

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general as best karaoke songs, but some might be a little more... specific. Top Six Songs with the Number Six in the Title. 

I'm back! After a break for the Decembertime holidays, I have returned with the Top Six Albums of 2014! Or at the very least, six really cool ones you should hear.

With songs from:

"Weird For You" by Sidney York (from the album <3s)
"Want to Believe" by Rich Aucoin (from the album Ephemeral)
"Minimum Effort" by Mounties (from the album Thrash Rock Legacy)
"Candle" by Lydia Ainsworth (from the album Right from Real)
"I Could Lose It All" by Chersea (from the EP Grey Matter)
"11:11" by Arkells (from the album High Noon)

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

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Rich Aucoin @ Fortune -- 09/16/14

Regular readers of the blog (all twenty six of you) will know how much I rave about Rich Aucoin, especially his live shows experiences, and that one of my favourite new discoveries of the year has been Chersea. So when I found out that they would be doing a show together, you could say I was pretty excited. And with the addition of Lowell -- who is, much like Hansel, so hot right now -- that seemed like a pretty damn strong lineup.


Starting things off was Chersea, normally a solo looper, this time she was out with a gentleman friend, drummer Drew McKay. It was the first time I had seen Chersea without Chelsea Laing on (literally) every instrument, and while a couple brief times it felt like McKay was just playing alongside her instead of with her, for the most part he provided a good backbone to the songs without being overpowering; a nice supplement, since the focus was (and should be) on Chersea's loops and powerful voice.
Armed with a mountain of keys and synth, a drum pad, and even a trumpet, her songs ranged from the dark synth of "Grey Matter" to the more upbeat and catchy, danceable "I Could Lost It All". It's always amazing watching someone working loops, building layer upon layer, and "Mind Porn" as it grew to an explosive ending.

Oh, and the two of them were also joined by a third person on stage, but not playing any instruments: a girl with a light-up LED hula-hoop dancing just off to the side the entire set.


After draping the stage with white fabric, Lowell was out behind the keys, backed by guy on guitar and a laptop, celebrating her new album, We Loved Her Dearly, out on the same day.
Early technical problems slowed things down right after the first song, but "Cloud 69"got the crowd right back into it, as Lowell came out from behind the keys, dancing at the front of the stage in her very mesh shirt, name emblazoned across the front Wonder Woman-style, very strategically placed.
She's a very strong songwriter with ridiculously catchy alt-pop songs, the anthemic "I Love You Money", and "LGBT" -- the chorus proclaiming "don't hate our love" -- but her live show didn't quite live up to the songs I had heard off the album. I'm not sure if her voice wasn't quite as good, or if it would be better with a bigger backing band, but her live set just fell a little short.


And finally, one day removed from his birthday, Rich Aucoin came out to introduce his usual show opening. He orchestrated a sing along to the 20th Century Fox fanfare before a recorded monologue which can be summed up with "we're all so lucky to be alive" and "Be Awesome", then the usual "opening credits", picking out people Rich knew was going to be at the show and giving them amusing and heroic attributes.

As the intro came to a climax, they burst into "Meaning of Life", the first song off the new album Ephemeral, right away uniting everyone in yelling along. Over the next hour Rich controlled the show from his pedal board and sampler, hardly standing still for a single moment, with his partner in crime Tony Dallas crashing on the drums. Aucoin was all about the stage, in and out of the crowd, getting everyone to form a giant circle before rushing into the middle to dance, blasting confetti cannons, and of course, bringing out the famed giant rainbow parachute (like from gym class) which everyone danced under to "Are You Experiencing?", a physical and emotional manifestation of the lyrics "When you give it all up, you get it back".

His shows are always set to visuals as well, many times movie clips or internet videos to go along with the songs, like introducing "I Am Sorry" with a montage of famous movie apologies, and "Want To Believe" having the appropriate X-Files accompaniment.

It seemed far too short when he brought the set to an end with "It", making everyone vow not to "leave it all in our heads", before gathering everyone in the venue at the stage for a giant group picture. He also, as usual, left his name and phone number on the big screen, promising that if you text him, he'll send you some music.

I always say, it's nearly impossible to simply describe the full scope of a Rich Aucoin show, or even show someone in photos. It's something you have to experience. Every single person in the room is on the same page, and looking around the venue you see nothing but giant smiles. Rich Aucoin can bring everyone together like no one I have ever seen.

setlist
Meaning of Life, Undead, Four More Years, Yelling In Sleep, They Say Obey, I Am Sorry, Let It Go, Want To Believe, Are You Experiencing?, It.

3am Mixtapes: Episode Thirty Six: A Box of Kittens

Each week on the 3am Mixtapes podcast, I will share with you the Top Six Songs of a certain subject. The topics can be as general like top six bands from Toronto. Some might be a little more... specific. Top Six Bands With "Black" In Their Name.

A couple of weeks ago I did the "Top Six Songs To Make You Curl Up Into The Fetal Position and Bawl" (you know, tearjerkers) so I figured I had to do the other side of the coin, with happy songs. It's the Top Six  Songs That Make You Feel Like Someone Dumped A Box of Kittens On You!

Smile along with:

"The Yeah Yeah Yeah Song" by The Flaming Lips
"Are You Experiencing?" by Rich Aucoin
"Cameras" by Matt & Kim
"Animal Arithmetic" by Jónsi
"Float On" by Modest Mouse
"I Like That You Like Books" by Ma Petite

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!

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Mounties with Rich Aucoin @ Commodore -- 03/21/14

Whenever a musical "supergroup" is put together, there is always a certain amount of caution. Are they going to just going to sound like a lame mashup of the participating bands (Audioslave)? Or are they going to come together to make an interesting new band (Monsters of Folk)?

When Mounties first formed, I had the same amount of trepidation. 

I was a fan of Ryan Dahle and all of his work, from Limblifter to Age of Electric to his solo album; I always liked Hawksley Workman, but for some reason never delved too far into his catalogue; and, to be perfectly honest, I never really cared for Steve Bays' band Hot Hot Heat. 

But their first single "Headphones" was catchy as hell, and any lingering doubt was eradicated on the first spin of their debut album Thrash Rock Legacy. So when they announced their first ever tour, it was a no-brainer, especially since they would be paired with one of my favourite live acts.

Opening the night was Light Organ label mates JPNSGRLS (pronounced "Japanese Girls"). The four-piece from Vancouver was visibly excited and amazed to be playing the legendary Commodore Ballroom, and turned that into an incredibly energetic live show -- especially lead singer Charlie Kerr who could hardly stand still. With a collection of songs that sounded influenced by early 00's post-punk, they delivered fast and raw rock, getting the gathering crowd excited. 

The young band is still fairly new, with only a debut EP to their credits, and while some of their songs sounded a bit too much like a patchwork of other bands, I think once they hone their sound

Next up was a trip to the opposite side of the country for Halifax's Rich Aucoin, and anyone who regularly reads the blog (or follows my twitter) knows how much I love Aucoin, especially his live shows. 

Rich syncs up videos to his music, projected onto a bedsheet behind him, and the set stared with the "coming attractions", including an inspirational speech cobbled together from various movies, and the "opening credits" featuring names of audience members with heroic attributes. 

From there, the dancey pop-rock burst forth and the raw energy and intensity didn't slow down for a second. With the music streaming from his effects board and the intense rapid-fire drumming of Joel Waddell providing the backbone, Rich was off the stage as often as he was on it. Giving Commodore's bouncy floor a workout, Aucoin was frequently among the audience with an illuminated light bulb, to dance with the crowd, bring everyone together for huddles, and even unfurling his giant parachute which spanned the entire area of the Ballroom's dance floor.

Few people can rally a crowd like Rich Aucoin, and the ridiculously catchy songs definitely help, with lyrics easy to sing yell along to. From "We are not dead yet, we are undead" of the appropriately titled "Undead" to "This heart is all that keeps us up, this heart is beating", he gives the crowd a strong message that can be summed up with two words from the opening: BE AWESOME.

After about a half-dozen songs, the set ended with "It" making the crowd to vow not to "leave it all in our heads", as he rose back onto the stage, dripping with sweat and covered in confetti. 

It's hard to explain, but Rich Aucoin's music and live shows leave you with a sense of pure joy, and a grin plastered across your face a mile wide. Seeing Rich Aucoin live is something that everyone needs to do at least once in their life. 

I don't envy any band that has to follow Aucoin, but as a remixed "Headphones" played over the speakers, Mounties took the stage for their first ever Vancouver show -- and only their fourth as a band. 

Hawksley took a seat behind the drums with Ryan on guitar and Steve on keys, and they were joined by Parker Bossley (of The Gay Nineties, and both Fur Trade & Hot Hot Heat with Bays) on bass and Carey Pratt (Prairie Cat) on percussion to round out the band. 

With Workman behind the drums, and a low-key Dahle content to shred on guitar, Bays was almost the de facto frontman, moving around and getting right up to the edge of the crowd when not behind the keyboard. But all three members shared vocals, and had equal time in the spotlight as they kicked off the set with "Pretty Respectable", the opening track of the album (and no doubt source of puns for many album reviews) and played nearly the entire Thrash Rock Legacy over the next hour-and-a-bit. 

Their songs spanned from the frantic groove of "Made Up My Mind" to the bouncy "Hall & Oats" to "The Twig & The Tree", which saw Parker came up from the back of the stage to help on vocals. 

"If This Dance Catches On", swirled into a psychedelic jam ending with crunchy guitar from Dahle and Bossley playing his bass with a bow, and they wrapped up the set, as you would expect, with the massive "Headphones" as they ending the main set with a huge jam. 

But of course, they were not done as the three came out for the encore with the soft "Latch Key Kids" intertwining Workman & Bays' voices, before exploding into the instrumental "Guaranteed Blonde Enough" 

and finally ending the night with the mellow "Tokyo Summer".

When talking about their origins, all three members will say they just wanted to do something to get together to jam & have fun, and the album is the results of that. Hawksley particularly has said he wanted to just do something where he got to sit behind the drums, which is exactly what he got to do. That passion, that sense that they are doing this because they love it, more than came through in their live show, spreading their enthusiasm into the crowd.

After seeing the show, it was incredibly to realise these three guys have not been playing together for the last twenty years, and with a start this strong, I can't wait to see where they go next.

setlist

Pretty Respectable, Feeling Low, Made Up My Mind, Hall & Oats, The Twig & The Tree, Waking Up On Time, Minimum Effort, If This Dance Catches On, Headphones.

(encore)

Latch Key Kids, Guaranteed Blonde Enough, Tokyo Summer.

3am Mixtapes: Episode Seven: Pumping You Up

Hey look, it's another episode of 3am Revelations' very own podcast!

Each week on 3am Mixtapes, I will present to you, in my dulcet tones, the Top Six Songs of a certain subject. The topics can be as broad and vague like Best Duos, or they can be as obscure and specific as Best Septets.

Every now and then you need a little something to get you going. To get you psyched up. To get your ass in gear. And these six songs do a damn good job of that. They motivate and inspire. They pump you up. They make you feel like you can do anything at all! So here are the Top Six Songs That Make You Feel Like You Can Take Over the World (but not in a supervillain way)!

Featured on this week's podcast is:

"It" by Rich Aucoin
"Lovely Allen" by Holy Fuck
"Meet Me In The Basement" by Broken Social Scene
"Things Will Get Better" by Bend Sinister
"Deadlines" by Arkells
"Inní Mér Syngur Vitleysingur" by Sigur Rós

Any questions or comments or waffles or criticisms or suggestions for future themes are welcome!


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Rich Aucoin @ Biltmore -- 09/15/12

"When you give it all up, you get it back." Those are just some of the lyrics that can be heard chanted at Rich Aucoin's shows, and I can't think of a better way to describe them. Aucoin has been criss-crossing the country tirelessly since the release of his album We're All Dying To Live last year, and gaining the reputation of one of the best live shows you will see. He dropped by the Biltmore in Vancouver -- on his birthday no less -- to prove it.

Opening the night was Data Romance from Vancouver. The duo of Ajay Bhattacharyya on drum pads and Amy Kirkpatrick on keys and vocals creates a moody, synth-infused electronic vibe. Amy's voice is soft and ethereal, adding to the dark atmosphere of the songs. For almost the entire set they were content to just play, not saying much, but near the end Amy thanked us and wished Rich a happy birthday, before getting back to it. They were really tight, playing off each other really well, and had an interesting sound, with a lot of the set being a bit of a slower tempo, but they picked it up for the last couple, which were a lot more high energy and danceable, getting the lingering crowd up on the dance floor. It was a strong set from the pair, and I would definitely check them out again.

As soon as Data Romance wrapped up their set Rich Aucoin started to set up, but not on the stage -- he set up his table with his keys and drummers on either side in front of the stage, in the crowd. When they were done and ready to go, Rich give a brief explanation as to what was going to happen; he writes his songs to sync up to old movie clips, which would be projected behind him, and what was a movie without trailers? After a giant sing along to the 20th Century Fox fanfare, there were a couple funny clips, which lead into the "opening credits", a series of slides with fun "facts" about people from the audience. The excitement built until the music started with an explosion of confetti, and the pure joy and fun did not let up for the next hour.
Aucoin is an amazing performer with so much charisma. Very few others would be able to get nearly an entire venue down on one knee, or unravel a giant parachute -- the kind from when you were in elementary school -- and get everyone to play Popcorn and then dance under it. Rich even goes into the crowd frequently, making everyone a part of the show. You don't just watch a Rich Aucoin concert, you experience it.
And of course, the spectacle would be nothing without the songs. Incredibly catchy and high energy songs like "P:U:S:H", "Brian Wilson is A.L.I.V.E." and "Undead" had the crowd yelling along with the lyrics, helpfully up on the screen, and jumping up and down. The set came to an end with the bombastic "It" and Aucoin even crowd surfing and bringing everyone in for a giant cheer. And, as usual, Rich left up a slide with his actual phone number on it, telling people that if they texted him, he would send you a zip file of some of his music. (I did this the first time I saw him, and got his Public Publication EP)

It's hard to sum up a show like this in words, and I don't think I could even begin do it justice, but Rich Aucoin's live shows will leave you grinning for days afterwards. They are high energy, fun, life affirming, and just pure bliss. If I could watch him play every night, I would.

Shows of September

Well, I haven't done this in a while, but after a bit of a summer lull, the concert season is back with a vengeance in the next few months, with September packed full of top notch shows. So here are a few I'm looking forward to...

September 15th: Rich Aucoin at the Biltmore
Regular readers (all seventeen of you) will understand why this is my most anticipated show of the month. Rich Aucoin's live shows are unparalleled; incredible energy, great audience participation, and more fun than you can possibly imagine.

September 29th: Bloc Party at the Vogue
After a bit of a hiatus, Bloc Party has finally returned with a new album, and accompanying tour. It's been three and a half years since I last saw them live, so I'm a little anxious -- both to see them, and to see if they live up to how great they were live previously (which, I'm sure they will be)

September 14th: Royal Canoe & Patrick Krief at the Waldorf
Royal Canoe is another favourite live band, and when you add Patrick Krief -- formerly Black Diamond Bay, Dears member and one of Canada's best guitarists -- to the bill, this is one show not to miss.

September 27th: Limblifter with Acres of Lions at Venue
Confession time: I've never seen Limblifter live. Or even Ryan Dahle when he struck of into his own solo career. I am fairly certain this isn't going to be the original lineup, but I'm sure it'll still be a blast of good ol' 90s CanCon Alt Rock. Plus, Acres of Lions is opening, and they're always fun to see live.

Thursdays starting September 13th: Peak Performance Project Showcases at the Red Room
The Peak Performance Project is back this year with an all new (well, mostly) group of bands. The showcases, which run for five Thursdays (skipping the 27th) are not just to introduce the public to this year's crop, but the bands will be judged on their live shows as one of the criteria to determine the winner.

There are a bunch more shows, too (check the sidebar), but these are the five I am most looking forward to. See you there?

Rich Aucoin @ Media Club -- 03/02/12

Right off the bat, I don't think there exist words to do Rich Aucoin's live show justice. But I'll try.
After seeing him open for Arkells last year, and turn the Commodore into a giant dance party, I was ridiculously excited to see him live again, and especially interested to see him at a much smaller venue, like the Media Club.

I missed the first band of the night, Bradley, but got there just in time for Young Liars to hit the stage. I've seen them a couple times before, and they always put on a decent show; though their songs tend blend together a bit, and lead singer's voice can be a bit rough at times. But despite that, they have a fun and upbeat synth-pop sound, and put on an enjoyable -- if a little forgettable -- show, and I can definitely see them getting better as they grow as a band.

And then Rich Aucoin hit the stage, first introducing himself then ducking off stage for the "trailers" and "opening credits" projected on a screen, which cut back and forth between video clips and fun "facts" about various members of the audience. It was one of the few times that I have seen a crowd riled up and psyched before the performer played a single note. And the videos went on throughout the night, with various internet memes between the songs, which were set to various video footage, like from How the Grinch Stole Christmas!.
Joined solely by drummer Tony Dallas, Aucoin then burst out with an unparalleled energy, getting the crowd to repeat choruses and shout along to songs, the lyrics helpfully on the projection screen. He barely stayed in one place for too long, playing the keys, up to the front of the stage, and even running through the crowd several times, occasionally even to the back of the room; and at one point getting everyone down to one knee, to leap up with a burst of confetti. There was also his usual rainbow parachute brought out for everyone to dance under, and also a second, matte black one and he got all the lights down low to make the club almost completely dark.
But of course the fancy videos and showmanship were just part of the show, with his incredibly catchy and upbeat pop-rock driving everyone to dance, keeping up the incredible energy throughout the whole night. Both "PUSH", with its Daft Punk sampled intro and the bombastic "It" were among the highlights of the show.

Without a doubt, and without hyperbole, Rich Aucoin's live show is one of the best I have ever seen. It's fun, and uplifting, and will leave you with a full heart and grinning for days on end. One of the lines he had everyone chant was "When you give it all up, you get it back", and I can't think of a better way to sum up the show; Rich more that gives it all up, and deserves everything he gets back.

Best of 2011: Albums: Haiku Edition

Okay, so I definitely fell behind this year when it came to album posts and reviews. But that's not going to stop me from subjecting you to yet another Best of 2011 list, which will be my favourite albums of 2011, in -- what else? -- haiku form. It's actually going to be less of a "best of" and more of a "personal favourite". I completely acknowledge that there may have been, technically, better albums this year; but some of those "better" ones I just couldn't get into for some reason *cough*Feist*cough*
So here it is. While the list is not numbered, it is in a vague order of "least-best" to "best", and I've included EPs as well as LPs because why not, that's why.

The King Is Dead by The Decemberists
Back down to basics
Strong songwriting from Meloy
As you would expect

Diaper Island by Chad VanGaalen

Refined and focused
Soaring vocals, instruments
On top of his game

Days Into Years by Elliott BROOD

Suitably toned down
War memorial inspired
Brilliant songwriting

Portage & Main by Portage & Main

A solid debut
Strong folk rock, heartfelt lyrics
Great blend of voices

Eureka by Mother Mother

Infectious and fun
But not without some darkness
Stellar shared vocals

Orchard by Jess Hill

Incredible voice
Beautiful and haunting songs
Mesmerizing folk

Michigan Left by Arkells

A bit more polished
But still more fun rock and roll
A strong follow-up

The Whole Love by Wilco

More adventurous
Bookended with two great songs
Their best in a while

Let's All March Back Into The Sea by The Liptonians

Cacophonous sound
A whole host of instruments
And clever lyrics

Summer of Lust by Library Voices

Energetic songs
Sharp, intelligent lyrics
Pop at its finest

No Bad Days by Wide Mouth Mason

Six years since their last
New bassist Gordie Johnson
Haven't missed a step

We're All Friends & Lovers Until It Falls Apart EP by Redbird

Strong, lovely voice
Coupled with great songwriting
Wonderful debut

Seeds by Hey Rosetta!

Heartbreaking lyrics
Symphonic and grandiose
Complex yet catchy

We're All Dying To Live by Rich Aucoin

Highly ambitious
Perfect, cinematic flow
Brilliantly unique

Apocalyptic Radio Cynic by Sidney York

Insanely catchy
Clever, sexy, sometimes dark
Power-pop with depth

Temporary Resident by Imaginary Cities

Take one stellar voice
One stupendeous musician
For near perfect pop

Kaputt by Destroyer

Rich, dense, and jazz-y
Lyrically ambiguous
Very beautiful

Oh Fortune by Dan Mangan

Darker and more dense
Rich music, poignant lyrics
Exponential growth

Take Care, Take Care, Take Care by Explosions in the Sky

Crashing crescendos
Breathtaking rises and falls
Far beyond "epic"

High School EP by We Are The City

More going on here
Than most have in a full length
Nearly perfection

Degeneration Street by The Dears

All-star Dears line-up
From the brink of destruction
Better than ever

Lights of Endangered Species by Matthew Good

Full of emotion
Amazingly orchestral
A career highlight

Arkells w/ Rich Aucoin @ Commodore -- 11/11/11

When I first saw Arkells a couple years ago I was immediately won over by them, and they've since grown to one of my favourite live bands. So no way was I going to miss when they came through the town to the Commodore. There is also a [vaguely] interesting lineage (for lack of a better term) for the band; I saw them opening for Matt Mays & El Torpedo, who I first saw opening for The Trews, who I first saw opening for Big Sugar. Since then I had seen Arkells headlining a few times since, and none of the openers really blew me away, so I thought the streak was over. Turns out I was wrong.

While I had heard of Rich Aucoin, and probably heard a couple songs on Radio 3, I wasn't terribly familiar with his music and really had no idea what to expect. He first came out first to introduce himself, and say that his songs would be synced up to movies projected on the screens, but first he had the "opening credits", which consisted of flashes of names with funny facts, like "[Person's] phone never runs out because it runs on the power of Greyskull" with, judging by the pockets of cheers, names of people at the show; it even including Dan Mangan and Steph Macpherson, who were both also there.
As for the set itself, it started with a burst of confetti and the opening song "set" to clips from How The Grinch Stole Christmas, and right off the bat it broke into a dance party with the Commodore floor bouncing. Aucoin had an unparalleled energy and enthusiasm, leading many singalongs throughout the set -- which were helped by the words being on the screen -- and jumping off the stage and through the crowd a few times, once even disappeared side stage only to reappear out the side door and run around the room, jumping on tables, going all the way to the back and working his way through the crowd to return to the stage. The set culminated with Aucoin bringing out an actual giant parachute (like from elementary school) for the crowd to dance with/under. And not only was it an incredible spectacle of a show, but the music more than lived up to it and matched the energy; insanely catchy and danceable pop, with a synthy edge.
At the end thanked everyone, and said if they wanted any of his music to just text him, leaving his number up on the screen with a note saying he would send anyone a zip file of his music (I did, receiving his EP, Public Publication).

It would be tough for a band to follow that, but if anyone could, it would be the Arkells. They came out swinging with the title track of the new album, Michigan Left, and right away I was reminded of why they are such an incredible live band. They have a raw energy and passion that in unmatched and an incredibly presence, having the crowd eating out of the palm of their hand the whole set. They keyboardist was especially good and jumping up and pumping up the crowd, and singer/guitarist Max Kerman just oozed charisma.
They focused mainly on the new album, with a few from Jackson Square, and highlights being the punchy "Where U Goin'", the raucous "Deadlines" and what has quickly become on of my favourite Arkells songs, "On Paper". Before they launched into "Agent Zero", they asked Rich Aucoin & his band to come out and help them, as well as the aforementioned Dan Mangan, to the surprise of the crowd, with Dan & Max sharing vocals by the end of the song.
The main set wrapped up with "Oh, The Boss Is Coming!", everyone shouting the eponymous line at the start, and singing along. But of course, there was the encore, with "Book Club" and an incredible cover of Hall & Oats' "You Make My Dreams" -- again joined by Aucoin & Mangan -- before ending with yet another sing-along, and my favourite of their songs, "John Lennon", somehow managing to top the energy of the night.

setlist
Michigan Left; Ballad of Hugo Chavez; Where U Goin; Pullin Punches; Bloodlines; One Foot Out The Door; Heart of the City; Whistleblower; On Paper; Deadlines; Kiss Cam; Agent Zero; Oh, The Boss Is Coming!
(encore) Book Club; You Make My Dreams (Hall & Oats cover); John Lennon.