WEIRD AL YANKOVIC JULY 19TH

For those who have had their sense of humour surgically removed minutes after being born, the concept of music parody is enough to make them squint, tilt their head and remain in a catatonic state for life. Does the thought of a man with long curly hair in a Hawaiian shirt playing the accordion in front of an adoring crowd make sense to you? How about if he gets naked, climbs into a tub of Jell-o and sings folk songs about Alpaca combing in Peru?

Weird Al Yankovic did one of those things as he owned the Claridge stage for a spellbinding hour and a half on the closing day of Ottawa Bluesfest.

Hey Ottawa! Do you want to hear some BLUES???

With that, the man of the hour and change opened with a medley of popular songs all pounded into the straightjacket of 4/4 time polka stomp. Backed by a very talented quartet, whose harmonies and instrumental chops were a huge part of the experience, Yankovic absolutely destroyed all of the pop culture icons (past and present) with razor sharp wit and costume changes. With trips offstage between songs to raid the wardrobe being an integral part of the act, short, comedic video segments were deployed to keep everyone occupied. Considering the humid conditions, Al was a trooper as he transitioned from furs and ice cream cone headgear for the Lady Gaga send up ("Perform This Way") to full yellow-suited, red-helmeted Devo ("Dare to Be Stupid"). Whatever the incarnation, his band followed suit. Everything worked like a Swiss watch and he held the crowd for the entire 90 minutes of mania.

The highlight? When everyone huddled in chairs at centre stage while performing "Eat It" and a handful of other classics ("Like a Surgeon" included) in the exact style of Eric Clapton's unplugged version of "Layla". Expertly rendered, funny as hell...this was one of the high watermarks of the festival in terms of delivering a full package of entertainment on every level. The energy that he expended was unbelievable. Finishing with "Yoda", they did an extended, inspired, harmonized bit of nonsense (A cappella) mid song before returning to the chorus and leaving thousands of happy people singing along.

Setlist:
Now That's What I Call Polka!-(medley)-Wrecking Ball/Pumped Up Kicks/Best Song Ever/Gangnam Style/Call Me Maybe/Scream & Shout/
Somebody That I Used to Know/Timber/Thrift Shop/Get Lucky
Perform This Way
Dare to Be Stupid
Fat
Foil
Smells Like Nirvana
Party in the CIA / It's All About the Pentiums / Handy / Bedrock Anthem / Another One Rides the Bus / Ode to a Superhero / Gump / Inactive / eBay / Canadian Idiot
Eat It / I Lost on Jeopardy / I Love Rocky Road / Like a Surgeon
White & Nerdy
Word Crimes
Amish Paradise
Encore:
Yoda

CEELO GREEN-OTTAWA BLUESFEST JULY 12TH

Claridge Stage

Played onto the Claridge stage by a super tight band, the flamboyant, golden-voiced Green appeared in red-trimmed leopard-print mumu, which screamed both comfort and sartorial splendour all at once. Stopping on a dime, his backing crew launched into the icy, synthetic crunch of, "Are We Not Men, We are Devo" as he asked the crowd to shout "We want CeeLo!!!" in the sweet spot.

And they did

Audience duly pumped, the brilliance continued with a 180 degree hard left turn into "I Wanna Be Your Dog". The Stooges? What a way to grab the audience by their collective lapels, lift them up and pin them to the wall. Hot Chocolate's late 70s smash, "Everyone's a Winner" was teed up and cranked out of the Le Breton park next. Welcome to McCeeLo! He knew enough to steer back toward his own "Bright Lights, Bigger City", which really came off far more powerfully live than it does on record.

Though he did perform the obligatory Gnarls Barkley hit that first brought his smooth tenor to the attention of the fickle public gallery in 2006 ("Crazy"), it is the kaleidoscope of covers that were spun out effortlessly which really caught the ear.

"Let's Dance", "Jungle Boogie", "Need You Tonight" all happened, with a funky, wet dream detour into Stevie Wonder's "Sir Duke" that seamlessly tiptoed into Ellington's own "Caravan". Medleys, fragments abound, "I Feel Good","Hey Joe" (Hendrix version) bounced wildly off of "Rock the Casbah" and "Sweet Dreams (Are Made of This)". Minds blown by this dazzling array of "other artistry", all that was necessary was the signature riff of "Smells Like Teen Spirit" and his own "Fuck You" to sweep up the broken pieces.

By this time, I had already made the pilgrimage across the field to catch the Arkells. CeeLo is a giant among live performers, owing in no small part to a peerless set of pipes.

ARKELLS-OTTAWA BLUESFEST JULY 12TH

Canadian Stage

Straight ahead rock solid set from the pride of Hamilton (after Marty Short, of course). Fresh from playing at the Calgary Stampede, the quintet took the red eye into the nation's capital and showed no signs of sleep deprivation, lighting up the Canadian stage as the sun faded into the west.

Frontman Max Kerman worked hard to engage the crowd from the moment that they tore into the opener, "Come to Light". Over the course of three albums the band has delivered thoughtful, energetic and catchy rock songs that have been honed to perfection on stage. These guys are on tour in perpetuity and it shows as they ramped up the intensity over their 1.5 hour showcase. All of their singles (except "Ticats are Hummin'") were featured, with "John Lennon" and "Pullin' Punches" ending up as particular highlights. The unsung hero of this aggregate is drummer Tim Oxford, who could have stood in for an atomic clock as he expertly steered the group through razor sharp arrangements. His precision assaults on the kit kept people a least a foot off the ground throughout.

What complimented their hooks, harmonies and great ensemble playing?

Pristine sound out front.

"11:11" provided the soundtrack to a marriage proposal earlier in the day, with the happy couple invited to watch the gig from the side of the stage.

Kerman asked the audience not to clap but snap along at one point. They complied and it was surreal.

Jerry Lee Lewis moment for keyboardist Anthony Crane as he pounded the 88s like a man possessed during a solo.

Moving over to the Bell Centre stage just as they kicked into a two song encore, it was a pleasure to witness such an exciting, five star performance from a band whose star is definitely on the rise. If you have a chance, get out and catch them.

Setlist:

Come to Light
Michigan Left
Ballad of Hugo Chavez
Never Thought That This Would Happen
11:11
Dirty Blonde
Oh, the Boss Is Coming!
Kiss Cam
Systematic
Pullin' Punches
Book Club
Where U Goin
On Paper
John Lennon
Whistleblower
Encore:
Cynical Bastards
Leather Jacket

KANYE WEST - OTTAWA BLUESFEST JULY 10TH

Bell Centre Stage

This was a perfect night for an outdoor event, warm and clear with just a few clouds emanating from herbal jazz cigarettes. Main objective: stake out a spot further back from the front of the stage with a view, while avoiding getting crushed or hit with water bottles. Tension started to creep through the assembled crowd as the "Yeezus of Cool" delayed his appointed 9:30pm appearance by twenty minutes. One guy in front of me yelled "We love you, Kanyeeeeee!!" repeatedly until he was hoarse, as his girlfriend cringed with every ear-shattering scream. He settled down after she hit him.

With that mercifully timed act of necessary violence, a bank of floodlights lowered toward the stage and the man himself emerged with the intro of "Stronger" throbbing from the mains.

A FEW OBSERVATIONS

When the bass kicked in, it packed the power of a one-inch punch to the sternum delivered by Bruce Lee in his prime.

There was no band, back up dancers nor were there any costume changes in evidence.

Songs in the set were frequently cut short by West himself and he would simply move on to the next one.

"Bohemian Rhapsody" was not attempted.

Thousands of attendees will be deleting heavily distorted, low resolution clips from their phones today.

THE VERDICT

Overpowering his flow in the first few songs was a very low-end dominated mix out front, which swamped "Power" and "Black Skinhead". He actually stopped mid-song, the lights came down and there was an uneasy break in the action as this was sorted out. The master of ceremonies then returned to the mic and proceeded to obliterate the gathered throng (roughly 25,000, reportedly) with a barrage of wordplay, sonic chaos and unrelenting energy.

Coming in, I did not have a complete digestion of his discography and what material I had heard didn't really blow me away as a listener. Through the course of the show, it became very clear why he has amassed such a fervent fan base.

From a psychological viewpoint, I have never witnessed anyone control a huge crowd so masterfully before. People were vibrating and knew every word of every song, with Kanye happy to let them do the heavy lifting and sing/shout his lyrics. Usually, the artist will have to do some work to get things going in a live setting. No exhortations were needed from stage to elicit audience participation and it was absolutely mesmerizing. The concept of the big outdoor rock spectacle has been well documented, yet this gig had little variation in lighting effects, no group of musicians to observe or take solos and very little banter.

Just one guy with a mic

There was an odd element to the proceedings in that it felt as if you were part of a human iTunes performance experiment, especially when he would turn to his tech and say, "Skip this and play the next one" and the track was cued up on a dime, cutting the previous song dead instantly. No one reacted negatively. West addressed his fans sparingly, though when moved to speak he was nothing if not predictably ostentatious:

“I want you to tell your kids about this one day, I want you to remember this. There’s a lot of great people who make music that I enjoy and all, but there’s only one fucking Kanye West!!"

He also managed to get in a few choice words directed at,"celebrity sell-outs who don't rap from their heart and soul and compromise their art for corporations, the money, and public opinion.”

Who does this guy think he is? Neil Young?

Sweeping aside the braggadocio, he did smile a few times, softening momentarily to thank the faithful:

“I really appreciate y’all, I love performing these songs, travelling the world, fulfilling these dreams!”

People genuinely love this guy. As for the often mentioned haters? They didn't appear.

OVERALL IMPRESSIONS

I was pleasantly surprised by the quality of the show. While he is not a singer, his skills as a rapper/performer are estimable. The presentation was incredibly well paced, never dragged and held moments of true spontaneity, despite the absence of a live band. Ending on a quiet note with "Only One", by the time he wound it down, there was still a definite buzz in the atmosphere, though no encores ensued. He simply disappeared without any further word as the lights came up. As a result of attending this stellar happening, I now "get it" and have far more respect for what he does when caught in the act.

Set list:

Stronger
Power
Black Skinhead
All Day
Cold as Ice
(Foreigner song)
Clique
(Kanye West, Jay-Z & Big Sean cover)
I Don't Like
(Chief Keef cover)
Mercy
Blessings
(Big Sean cover)
New Slaves
Blood on the Leaves
Heartless
Runaway
Flashing Lights
FourFiveSeconds
(Rihanna cover)
No Church In The Wild
(Jay-Z & Kanye West cover)
Through the Wire
Jesus Walks
All Falls Down
Can't Tell Me Nothing
Gold Digger
Touch the Sky
Niggas in Paris
(Jay-Z & Kanye West cover)
Only One

SLASH AND THE CONSPIRATORS JULY 11TH OTTAWA BLUESFEST

Pure, unadulterated adulation greeted Saul Hudson and his mates as they appeared to dispense good will and face-melting solos to the thousands that had gathered around the Bell Stage last Friday evening.

Saul Hudson?

Slash!

With ever-present Les Paul slung low and leather "topper" balanced perfectly on his head, the fret-burning legend ripped an ultra-tight, 11 song set, abetted by his Conspirators. Leading off with "Ghost" from his 2010 solo disc, the band burned with the intensity of a blast furnace, though it was vocalist Myles Kennedy who was most impressive throughout. His operatic vox were nothing less than a masterclass in jaw dropping technique, especially as he tackled several Guns and Roses classics and didn't seem to break a sweat in doing so.

Highlights? Pretty much every tune, though "Anastasia" was noteworthy for some very tasty flamenco style runs that the star of the show played on a custom double neck. Throwing "Slither" into the mix (from Velvet Revolver) was an inspired choice, too.

Predictably, the opening salvo of "Sweet Child of Mine" elicited the most frantic response from the crowd. One guy's head actually exploded within seconds of hearing the intro.

But that's how it goes at these rock'n'roll shows...

Slash's fluid playing remains very fine and he seemed to gain energy from Kennedy's note perfect delivery. "Paradise City" closed out the proceedings, complete with flaming telepaths, apocalyptic riffing (courtesy of Sabbath's "Zero the Hero"), ten thousand killer bees performing the Minute Waltz channeled through the stacks and one hell of a finish.

Brevity being the soul of wit, the lads disappeared leaving everyone with a taste for more.

You are well advised to catch Slash and his devastating guitar tone in the act if he's in your neighbourhood this summer.

BLONDIE JULY 10TH OTTAWA BLUESFEST

Blondie always conjures up odd memories for me. When "Heart of Glass" was issued as a single back in 1979, my sister secured a copy of the 45, which was played endlessly. The B-side was a tune called "11:59". This is only significant because my main recollection of that song is hearing it drifting in from our living room while deathly ill in bed with a fever and hallucinating. The cast of The Beverly Hillbillies were all dancing wildly to the tune in the corner of my room. Granny played that cool keyboard solo and Ellie May sang lead...

Who needs TV when your brain is frying inside of your skull?

Celebrating their 40th anniversary in 2014, Blondie graced the Claridge Stage of Ottawa Bluesfest on Thursday night and played a spirited set, featuring music that spanned several eras with some surprise covers tossed in to keep things interesting. Deborah Harry, Chris Stein and Clem Burke are the only members left from their initial rise to prominence in the late 70's. Burke gets special mention here for his amazing energy behind the kit, with sticks twirling, launched high into the air and his devastating attack on the skins. He propelled the band in style, giving an added spark to the overall performance. Chris Stein virtually hid behind perpetual shades, taking his place close to the drum riser and holding down rhythm guitar. I would not have been shocked if he had unfurled a newspaper and taken the opportunity to get some light reading in as his bandmates carried on with the business of playing the gig.

At the centre of it all was Ms. Harry, still in great voice and capable of delivering the goods.

Opening with "One Way or Another", they quickly engaged the crowd who immediately responded euphorically. Wanting to avoid coming across as simply a nostalgia act, the focus turned to new material from their most recent disc, Ghosts of Download. Released in May, it didn't seem as if many in the audience were familiar with these tunes. Kudos to the group for sticking to the plan, though it seemed that those assembled started to disengage, despite a fantastic version of "Call Me" that was strategically placed amongst the contemporary fare. Speaking of which, I really enjoyed "Rave" and "Mile High" and will further investigate the new album.

Long before No Doubt and similar aggregations synthesized reggae/pop/hiphop/dance with rock, Blondie was exploring all of these avenues. "Rapture" is a classic example of this and when they played it, people started to become animated once again. They managed a minor coup by running it into the Beastie Boys' "Fight For Your Right (to Party)". This and "Heart of Glass" won back the faithful and they were called back for an encore. "Dreaming" was well chosen and had everyone dancing and pumping their collective fists in the air.

Great show by an iconic band.

No "11:59", though.

COLLECTIVE SOUL JULY 13TH OTTAWA BLUESFEST

Anthemic radio staples (and smoke from many left-handed ciggies) filled the air around the Bell Stage tonight as Collective Soul brought the 2014 edition of Ottawa Bluesfest to a rousing close.

People went absolutely nuts for these guys...

Atlanta's favorite purveyors of heavy pop took the stage with Aerosmith's "Back in the Saddle" as their soundtrack. In what was a very astute move, they tore into two brand new tunes from their yet to be released, See What You Started by Continuing album (due out in 2015). Frontman Ed Roland addressed the crowd after they peeled off "This" and "Are You the Answer" (both solid, by the way) joking that, "we wanted a captive audience for the new stuff and wouldn't want to see you guys to run off and take a piss after we played the hits..."

On that score, they did not disappoint, following through with the crunching stomp of "Heavy". Pacing the set with all of the monsters that have garnered consistent airtime on rock stations over their twenty years as a recording entity, the volume of the crowd grew in proportion to that produced by the five musicians.

Highlights included "December", "Gel", "Better Now" and an intense reading of "The World I Know" which featured a huge sing-a-long section. Roland made special mention of the fact that "Gel" was the first one that they recorded "as a band" as opposed to the building of songs through arduous tracking in the studio. One big factor that really came across was how much fun the lads were having onstage. That translated to instant rapport with everyone in attendance and some fun detours like the brief drum interlude ("We hate drum solos, but we love our drummer, Johnny Rabb") and a snippet of Pete Townshend's "Let My Love Open the Door" that gave everyone a chance to exercise their vocal chords.

Ultra-tight, melodic rock and pop, great harmonies and giant hooks kept the love flowing right up to the encores.

Then it became outright obsession

"Shine" featured a decorative piano intro (nice touch) before the band landed like a ton of bricks on a box of cupcakes on the riff. From my spot, close to the front/center stage, the screaming from the fans was unbelievable. It was pretty exciting to be absorbed in the electric current that ran through the masses. "Run" was the closer, with each member of the group abandoning their instruments, one by one, coming out front with Ed to say goodbye, leaving their singer to strum his acoustic and let everyone serenade him into the wings.

It was a fitting end to ten days of excellent music and showmanship.

For me, it was an absolute pleasure to be asked to document some fine and memorable sets over the last week.

In turn, I have to thank two very talented, professional photographers who diligently framed the festival through their own special lenses: Marc DesRosiers, whose work you may check out at frontpagenews.ca and Mark Horton at ehlistimages.ca

Huge thanks to all of you who actually take the time to stop in here and read my scribblings. I have some backlogged Bluesfest reviews to post. Stay tuned for Blondie, Slash, Third Eye Blind and more in the next day or so.

PROCOL HARUM WITH THE NAC ORCHESTRA JULY 10TH OTTAWA BLUESFEST

Everyone should be reminded on a regular basis that they are exactly where they should be in their current position in the cosmos. This writer experienced that very sensation in glorious technicolor on Thursday night. Having mixed up the start times of the acts for the evening, I rushed to the festival grounds, only to arrive well ahead of schedule, though just in time for Procol Harum.

Quickly securing a spot up front, the next hour brought an almost indescribable joy that I am still drawing upon days after the event.

Lee Hayes' Vox Choir and the NAC orchestra flanked the group as they strode onto the Bell stage. Gary Brooker looked the proper English gent/elder statesman as he took his seat at the piano. Acknowledging the applause with a polite wave, he led his mates into "Homburg".

Before the superlatives flow, it's worth pointing out that the orchestral accompaniment was designed to provide the exact feel of their uniformly excellent album, Live in Concert with the Edmonton Symphony Orchestra, which was originally released in 1972. Having spun my vinyl copy at top volume many times, I could not believe my luck in being parked directly in front of the real thing.

Brooker is still possessed of a soulfully powerful voice, which soared over the collected instruments with great ease. Complimented by a perfect sound mix, the lovely melody of the opener was akin to crepuscular rays breaking through the clouds. "Simple Sister" came next, with strings and choir pushing it to another level. In a moment of self-depreciation, the singer/keyboardist talked of a time when his group, "rode in style to gigs, dined on the finest food and drank expensive wine. Now it's McDonalds and the bus." With that, the opening strains of "Grand Hotel" filled the air. Far from having a soporific effect on the adoring crowd, the beauty of the augmentation to the five piece band band was actually uplifting.

All hands on deck, we've run a float,
I heard the Captain cry.
Explore the ship, replace the cook,
Let no one leave alive...

Almost on cue, a pair of gulls floated above the stage as a note perfect rendering of "A Salty Dog" began to take shape. Majestic in execution, the epic tale from the pen of wordsmith Keith Reid came across quite literally as the music of vast horizons. Nothing short of a convoy of arriving UFOs could have prepared the audience for what followed. In place of the familiar Hammond organ intro to "A Whiter Shade of Pale" was the orchestra, faithfully reproducing this classic piece. When Brooker stepped in to sing the opening lines, the crowd erupted. This treatment was a masterstroke in arrangement, brought home forcefully when the quintet joined and steered the song back to more familiar territory.

As exhilarating as this was, Procol Harum saved the best for last.

With heartfelt thanks to all who had given their time and attention, Mr. Brooker raised his head, nodding toward the NAC conductor to strike up the startling wall of sound that heralded the closer, "Conquistador". Rounding out an impeccably timed set with an unbridled explosion of energy, the concert grounds were held in the grip of something magical that a more stripped down group of players would not have been able to match. Simply put, this was nothing less than the aural equivalent of Wagner's "Ride of the Valkyries", specially crafted by a very ambitious rock group and delivered with class to astonished group of Bluesfest attendees. Despite witnessing some very fine talent through the past week, this was far and away the most memorable show for me.

Grand in scale and substance, Procol Harum's presentation was by far the most ambitious undertaking of all.

Important to note that picture used here is the work of talented photographer, Mark Horton. His eye for detail is astounding and his photos have been featured in top publications around the world. Check out Mark Horton Images for more examples of his work.

QUEENS OF THE STONE AGE-JULY 8TH OTTAWA BLUESFEST

Torrential rain did not deter fans of Queens of the Stone Age, who waited patiently in front of the Claridge Stage for skies to clear. Following a short delay, the band counted off "You Think I Ain't Worth a Dollar but I Feel Like A Millionaire" under the friendly arc of a double rainbow. This natural phenomenon was the perfect "feel good" complement to a spectacular performance. Leaving no dead air, they next dove headlong into "No One Knows", which pumped crowd adrenaline exponentially. This was a wise selection early on, being one of their most recognized tunes. Josh Homme had a mandate to initiate the faithful with selections from last year's Like Clockwork disc, though they smoked and burned in familiar territory first.

"My God Is The Sun" was the first of five songs from the latest album to be unleashed in their 15 song set. This sentiment was doubtlessly shared by those patient souls who had braved the rain. Noteworthy here is the genius of the writing, as their material comfortably welds strong melody with scorching heaviness. The group harmonies in support of Homme's lead vocals were tightly deployed amidst the maelstrom of sonic power that the quintet delivered. These guys spread a highly contagious case of head-banging that resonated out from the stage, across Le Breton Flats and into the living areas of nearby residents. I wouldn't be surprised if these people downed tools, started kicking over furniture and playing air guitar in their living rooms.

This one goes out to all the ladies

By the time that "Make It With Chu" was rolled out, there was a mass of vertical movement all around. It was also announced that bassist Michael Shuman was celebrating his birthday which garnered an ovation and a raucous, shambolic rendition of Happy Birthday from the audience. Homme had very kind words to offer to the organizers of Bluesfest, advised the crowd to keep their day jobs and mused that, "now it was time to just go with the flow..."

Only a comatose individual would have failed to pump their fist into the air as "Go With the Flow" and "A Song For the Dead" destroyed everyone in attendance, the latter featuring a huge drum crescendo. This is the soundtrack for apocalyptic invasion. Still vital, creative and one of the highlights of the live, 2014, Jimi Hendrix Ottawa Bluesfest Experience, this was a most stellar show.

If Queens of the Stone Age happen to be in your area code this summer, steal the money for tickets and get out and see them.

FOREIGNER- JULY 8TH OTTAWA BLUESFEST

I see a lot of love out there tonight!!!!

Indeed there was, with every ounce of it directed toward the Bell Stage on Tuesday night.

You see, gentle reader, way back in the midst of late 70s excess, a little band called Foreigner appeared on the scene. Eschewing interminable solos and multi-part epics that were an integral part of the rock blueprint at the time, these lads simply went into the kitchen and cooked up three minute hits.

Lots of hits...

Their contemporaries (Journey, Styx, Boston, Toto) also took this no-frills approach to making records. As a result, all were lumped into the category of "Corporate Rock". Dismissed offhand by music critics of that era as insubstantial and soulless, these groups were deemed to be guilty of trivial audience pandering. Despite the thumbs down from hip rock scribes, Foreigner grabbed a large piece of the market and won millions of fans in the bargain.

Judging by the large, enthusiastic crowd that greeted them at Bluesfest, the only thing that mattered was the delivery of those iconic tunes.

As for the set list, remember their "Records" compilation?



"Dirty White Boy" and "Long, Long Way from Home" were omitted, though all of the other monsters were present and played at top volume.

The upshot? Zero filler, no drum solos and not a trace of "We're gonna play y'all something from the new record now!". It was a slick, well paced, greatest hits production with everyone firing on all cylinders throughout.

Time for a joke!

"Knock, knock

Who's there?

Lou Gramm

Lou Gramm who?"

Exactly, because the guy who stood in his place (Kelly Hansen) is an absolute ringer for the former front man and was note perfect on everything he touched. Considering the vocal range required to cover the material, his execution was flawless. The lone remaining founding member (Mick Jones) , curiously, did not appear on stage until after the fourth song. He was given a huge ovation as he peeled off the signature riff for "Feels Like the First Time". Uncle Mick addressed the throng briefly, casually talking of how his family nearly emigrated to Canada when he was a child and confirmed how much love our nation-state had given to Foreigner over the years. Switching from his Les Paul to an acoustic, he then introduced “Star Rider” from the first album and took over lead vocals, though he was woefully “under-miked” on what was otherwise a very pleasant surprise inclusion in the set.

Jones let his guitar chops speak for the rest of the evening.

The high water mark in the show was a stone heavy version of “Juke Box Hero”, which saw all musicians deviate from the main script and improvise madly in the middle section of the song. The choir from hometown Brookfield High School came out to kick off the encore. Jansen encouraged everyone to grab the person closest to them, feel the love and “get back to the eighties”. “I Want to Know What Love Is” provided a cathartic release,with everyone swaying/singing along in unison. By far their most successful song when released back in 1985, the emotional reaction that it garnered on Tuesday night was overwhelming. Always interesting to see what grabs the masses by the lapels and demands their attention.

"Hot Blooded" closed out the evening, though it was telling to witness thousands of people filing out of the confines of LeBreton Flats, loudly singing, "I want to know what love issssssssssssssss, I want you to show meeeeeeeeeeeeeeee"

As for the trappings of corporate rock, there was no mention nor care.

LADY GAGA JULY 5th OTTAWA BLUESFEST

Ottawa Bluesfest marked the 21st gig of Lady Gaga's artRAVE tour. Nine tour buses, truckloads of equipment, a personal entourage of 120 and a truly mesmerizing array of costume changes were all part of the spectacle that unfolded in front of 27,000 people who showed up to the party on Saturday night.

From where I stood, after two hours of high energy hits, no one was disappointed.

Giving credit to her supporters here in Canada at many points during her set, the former Stefani Germanotta blasted out of the gate with a full compliment of backup dancers/singers (two of whom carried her out on stage), a hot band and immediately sent the crowd into a mental state with the title track from 2013's Artpop.

Can you fucking hear me?!?!

All in attendance acknowledged that they could.

Continuing on with new material, she made requisite wardrobe changes that were executed at the speed of a dentist's drill and the entire setting in front of the Bell stage seemed to be positively lysergic. Continuing on with this theme, Ms. Gaga appeared for "Venus" in a mile-high brown wig with makeup that bore more than a passing resemblance to Madonna (circa late 80's) as imagined by Salvador Dali. The visual aspect of the show was stunning, with sound quality that was impeccable. While the electro-pop kept the faithful on their feet and dancing, Gaga took a detour away from her ostentatious persona with a solo turn at the keyboards.

Here is where she leaves other contemporary pop-tarts in the dust, as underneath the flash/sheer sonic attack beats the heart of a torch singer. No pitch correction software, no entourage of choreographed, dancing Muppets on LSD...just an exceptionally talented musician. It was this iteration of the artist that mightily impressed all who witnessed the seamless move from "I've Got a Crush on You" to "Born This Way", performed without a net.

Hits? Sure, they were sprayed out effortlessly ("Poker Face", Paparazzi", "Judas") though "Applause" was a definite highlight, as was the encore which featured a solo take on "Gypsy". Several costumed fans were ushered on stage to share the spotlight and the ringleader took a few unscripted moments to read notes that were tossed up to her. Much of her patter between songs was dotted with positive vibes that seemed channelled directly from the late sixties. Wrapping up all of her influences in a druggy, good-time, positive package, Gaga finished off the two hour extravaganza in style, without dragging out the patience of those who got all that they bargained for.

As for your humble scribe, I committed my estimations of the evening to paper over a pint at the nearby Mill Street Pub, wondering if those last two hours were just part of an elaborate dream orchestrated by Bob Mackie and Timothy Leary.

Stef is the real deal...

JULY 5TH OTTAWA BLUESFEST - MATT ANDERSEN AND THE MELLOTONES

Matt Andersen's voice is an absolute force of nature.

The pride of Perth-Andover, New Brunswick walked out on the Claridge Homes Stage at 6pm on Saturday and owned the crowd from the first note. Backed by the Mellotones, Andersen casually mentioned between songs that this was just the fourth gig with the nine-man wrecking crew from Halifax. Boasting four horns, drums , bass, guitars and keys, the band was solid as they tore through a mix of originals and well chosen covers.

Playing acoustic guitar for the first half of the set, the hirsute star of the show steered the group through soulful renditions of his tunes. One of the many highlights was a song from his latest release, Weightless. Co-wriiten with Joel Plaskett, "My Last Day" muses upon what we would do with ourselves if we knew our time here on earth was limited to one more day. He introducd this one by noting that "we have lost a couple of very talented coast musicians this past year" and dedicated this one accordingly. No doubt referencing the passing of Jay Smith, it was a stellar performance from all involved. One very pleasant surprise was the inclusion of The Band's "Ophelia", which kept the audience dancing throughout and was punctuated by a note perfect trumpet solo. The punchy horn section was deployed for maximum impact as they also provided incredible backing vocals when not occupied with their instruments.

Andersen ramped up the energy when he turned and picked up his blue hollow-body electric, treating those assembled to searing, jaw-dropping solos. During the gut-bucket blues of "The Devil's Bride", he joked about needing "a perfectly greasy trombone solo" and that's just what was delivered. Despite a blistering run through soul, blues and R & B all filtered through the lens of his peerless voice, the magician saved his best trick for the closer.

There was no disguising the signature, frenetic guitar intro to Joe Cocker's arrangement of the Beatle classic, "With a Little Help From My Friends". Every single person assembled was swaying in rhythm, though when the man stepped up to the mic to deliver the opening lines, it was spine tingling. Aided and abetted by the intensity of the Mellotones, Mr. Andersen made you forget that anyone else ever touched this tune. He completely nailed it and, arguably, took it to another level. The crowd went out of their minds as the last notes rang out.

Simply put, it was a masterful set by a prodigiously gifted artist. Do yourself a favor and take the opportunity to catch Matt with the Mellotones on one of their upcoming live dates. Definitely one of the hottest sets from day 3 of Ottawa Bluesfest.

OTTAWA BLUESFEST

Ottawa Bluesfest is ranked by Billboard Magazine as one of the top 10 most successful outdoor music festivals in the world!

From July 4th to 14th, the nation's capital will play host to an array of top acts including Rush, blues legend B.B. King, The Black Keys, Alice in Chains, Weezer and The Tragically Hip.

Cold beverages pair well with great live music from multiple stages.

For full details check out their site

Bluesfest 2013 is guaranteed to be hotter than July...

NASTY WEATHER

MOTHER NATURE HATES ROCK FESTIVALS

Bluesfest has been a premier summer music event in Ottawa since the mid nineties. This year, the lineup was quite amazing, though I did not make it to any of the shows.

Until last night.

By chance, a good friend of mine asked if I would be interested in checking out Cheap Trick, who were one of several acts closing the festival this year. I have not seen these guys live since the late 80's ("The Flame" was a surprise return to the charts for them at that time).

I was in!

We had a couple of beer and were kindly given a lift down to the site. Arriving just before the band hit the main stage, we lined up for more beverages and found a spot just as the pre-recorded intro finished. They came out strong with "Hello There" and carried on with an unexpected "Tonight It's You".

So far so good.

About 15 minutes in, an ominous, dark shadow began to creep up behind the audience. People began to point skyward and take pictures of the advancing dark clouds.

Something wicked this way comes

Sensing a heavy downpour was imminent, many of the assembled now began to turn away from the stage, pack up and leave. My buddy told me to turn around and look at the trees in the background. The wind was bending them almost to the ground. Then the mains went dead, though the band still had a monitor mix. A flock of birds was blown out of their planned flight path, toward the stage as 120 kmph winds roared past. Cheap Trick downed tools, fled the stage and thirty seconds later, disaster struck.



The stage was lifted and toppled backward in a completely chaotic and surreal scene. We were stunned, though all of us agreed to calmly find a safe spot as hail, rain and debris pelted the crowd. It is astounding that no one was killed.

I have been to hundreds of shows. This is by far the strangest and most unsettling concert experience that I have ever had. We trooped away from the site as emergency vehicles screamed toward the scene. Hitting a pub after a trek in the rain, pints were hastily ordered and consumed as we tried to make sense of the weather bomb. Not quite the evening that any of us expected, though it will be memorable for all of the wrong reasons.