With a slight delay, the band stepped out on stage with an instrumental track, a sample of what’s to come, a showcase of the on-stage talent, and the vivid variety of sound and skill, in line with how they’ve done it in the past. Everyone’s phone was in the air, streaming, snapchatting, instagraming, and recording to be rewatched later. The band has been around for over two decades and has over 10 records records behind their belt so it was no surprise that the audience was a more mature crowd, dancing, swaying singing along to almost every song. My soul, at this moment, feels at home here.

For nearly two hours different singers rotated through the stage while the band played out nearly every track from their most recent release, The Temple of I & I. Lou Lou Ghelichkhani stepped out on stage for “Time + Space,” Natalia Clavier for “Love Has No Heart,” Mr. Lif for “Fight to Survive,” Notch for “True Sons of Zion” and the most recent addition to the band, Racquel Jones, for “Letter to The Editor.” And so the rotation continued in no particular order for the next hour. Ghelichkhani and Halligan joined Mr. Lif on stage for the performance of “Ghetto Matrix,” one of the most engaging performances of the night. The older tracks were sprinkled throughout, teasingly treating the audience to the highlights of their musical past with “Until the Morning” from The Richest Man in Babylon, “Take My Soul” from Culture of Fear performed by Lou Lou Ghelichkhani as it was written back in 2011, and many other classics.

The front of the venue was hot and sweaty with enthusiastic dancers, the balconies were spilling over with observers, while people in the back enjoyed the show in their own distant peace, sipping on cold beers, and having their own dance parties. “Best show ever!!” I overhear someone announced, hastily clapping behind me as the show was wrapping up. That it was, definitely one of the best ones.

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The Music Hall stage is a perfect illustration of the duo’s growth as performers – together they found a sound that helps them stand out in any playlist, win over a wide variety of audiences, and maintain their music’s originality. Those good looks are just a bonus.

The duo smoothly played through tracks from their latest release Days Gone By, occasionally mixing in older hits like “Far From The Tree”. Rarely pausing between songs, Bob Moses’ set was seamless, visibly appealing to everyone’s favorites – to many in the crowd, every track was a favorite.

A few tracks in, Vallance shared the band’s struggles – Canadian customs were harsh on their crew, and none of their equipment made it through to Canada. If it hadn’t been for event promoter group Embrace, who hustled all day to gather gear for the duo, there wouldn’t have been a show. I think I speak for many when I say we’re glad they didn’t turn back and go home, as many have after a customs hassle.

Every Bob Moses show is a memorable one – with the track they’re on, you might want to grab tickets before they become a stadium band.

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Milk & Bone at The Great Hall: This adorable Montreal duo are more than a pair of pretty faces; they’ve got a big electronic groove that radiates throughout their performances, just as it did at The Great Hall set at CMW. Peddling dreamy vocals backed by heavily synthesized beats, Camille and Laurence, who recently released their debut album Little Mourning, opened the Osheaga 10^th Year Anniversary Party. Looking a lot more like sisters than just friends, these young women presented serious vocal power and a quiet stage presence that was both endearing and impressive. While they’re just getting started, expect to hear these two on a dream-pop electronic station near you with the likes of Young Galaxy, Purity Ring, and Grimes (Canadian power!).

K.I.D at The Great Hall: Another Osheaga anniversary showcase, these three are a force of 90s pop. The sound is reminiscent of No Doubt and The Cardigans. The band consists of Kara Lane, lead vocals, her brother Bobby MoonBeam, synth and vocals, and Alex Biro on drums. For this show the band was also joined by a rather eccentric guitar player, who may have just brought back the turtle neck plus dad jeans combo back to life. K.I.D is an acronym for Kids In Despair and whatever their despair is, it seems like a good inspiration for music. We were pleasantly surprised and heavily entertained by the stories and synchronized dance moves. The music itself took us back to high school and well, there is definitely nothing wrong with that.

Verbal Jint & Illionaire at Revival Bar: Here’s what I learned from CMW’s K-Pop Night Out: 1. Covers of Western music make-up a large portion of South Korean popular music and 2. The fans go nuts for it.

Performing at a laser-lit Revival Bar, the line-up of rising Korean talent, which included rappers Verbal Jint, Dok2 and The Quiett from independent label ILLIONAIRE RECORDS, seemed understandably ecstatic to be playing. While these musicians have each accrued a dedicated Korean fan base, playing at a festival that is dedicated primarily to Canadian music had the potential for empty rooms. Luckily, the venue was packed and the crowd happily screamed/sang along with just about every lyric, getting extra loud for a beat drop. Although these artists were similar in sound, Verbal Jint seemed to bring a softer, more R&B focused approach, while Dok2 and The Quiett stuck to strictly spitting Korean rhymes (mixed with a little English). Despite my own language barrier, the crowd’s energy was palpable and this showcase proved to be not only intriguing, but a lesson in culture.

Ivory Hours at The Dakota Tavern: Prior to seeing the Ivory Hours live, I had a bit of an idea of what to expect. Based on the band’s brightly coloured, pop-indie music videos that feature dancing, tons of denim, and a pretty great time, I was sure that their CMW set would be enjoyable. And you know what? I wasn’t disappointed. Based out of London, Ontario, and fronted by Luke Roes, the three-piece band performed peppy tracks off their EPs, Mary and Two Keys, that kept the crowd moving along with the band’s high-energy performance. Playing to a half-filled Dakota Tavern, they delivered a show that, though at times sounded a bit strained, was overall heartfelt and well received.

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Clairmont The Second at Tattoo: I don’t really know what “the X factor” means, but I do know that, at just 17-years-old, Toronto’s Clairmont The Second is an artist (not rapper, as he cleared-up) who’s got a whole lot of chutzpah and talent going on. Spitting his own verses on his own beats, the lanky teen took command of the stage as part of CMW’s The Known Unknown presentation, also featuring JAHKOY and GoldLink. It’s not easy being the opener, tasked with warming-up the crowd, but whether the venue was populated with his fans or first-time listeners, it didn’t really matter; there’s likely not much that could rattle this young man’s confidence. Clairmont’s home-grown lyrics about nose rings, public transit, and Adventure Time may be green, but they’re heartfelt and sprouting roots that, in time, have the potential to grow deeper. Stay tuned.

Stu Larsen at The Rivoli: Australian folk singer, Stu Larsen, may have stolen a few tricks from the pied piper. Strumming songs that lulled The Rivoli crowd away from Queen Street’s busy CMW hum, Larsen’s serene vocals – not unlike James Taylor’s – were captivating. Quite frankly, I could’ve listened to him all night. Decked out in a trademark messenger cap over his long, golden locks, he was joined by Natsuki Kurai, a musician who just might be the David Blaine of harmonicas. During one song, Kurai created an incredible harmonica beat that bounced between a train and an electric guitar. I looked, but couldn’t find any signs that he is, in fact, a robot, which might better explain this man’s harmonic speed and agility. A pair that were a real treat to watch, especially with a cold beer in hand.

FIDLAR at The Horseshoe: I’ve never seen a mosh pit break out at The Horseshoe, but that all changed during FIDLAR’s highly anticipated CMW set. An acronym for “Fuck It Dog, Life’s A Risk”, this Los Angeles-based skate punk band had its rowdy crowd swinging from beams and throwing drinks two songs in. These guys are fun. And loud. And don’t take life too seriously. Although their in-your-face delivery isn’t for everyone, this band knows how to unleash an electric riff and create a real, palpable reaction in their fans. Like, you can smell it. With songs that range from topics like booze to bills to weed and rehab, their frenetic performance kept the whole place lit, from start to finish. Showcasing a variety of new songs, these guys gave the testosterone-fuelled room exactly what they came for: a show where they could release their inhibitions and dive head-first into a sea of beer and sweat.

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This Monday night González played a sold-out show at Toronto’s Phoenix Concert Theatre as a part of the Vestiges & Claws tour. A generously spaced-out crowd packed the venue in with a polite intensity particularly possessive of the square footage around their space. The anticipation was causing awkward tension throughout the room but as soon as González and the band took the stage everyone relaxed.

“Toronto loves you Joseeeé”

The line drawings of mountains and stars on the curtain backdrop perfectly set the stage for the show. Playing tracks from the new album starting with “Stories We Build / Stories We Tell” González played through a vivid selection of tracks including some classics and a cover of Massive Attack’s “Teardrop”. His band is rock solid performing in perfect sync, playing off of each other’s peaceful energy cruising through each track one note at a time. After taking a solo stage to play “Crosses” and a few other songs José asked for the band to return on stage giving Barbarossa (James Mathé), who was on decks almost the entire night, a moment to perform “Home,” a track from his upcoming album Imager. With obvious shared history among all participating members, this isn’t just González show, it’s a José González family tour.

Closer to the end as the crowd was shouting out favorable comments, love confessions, and various odd support noises a few people began to request “Cycling Trivialities” coincidentally at the same time as the band was reshuffling setting up for that track. The joy crushed through the front of the room in a subtle wave.

After a breath break for applause, the encore ensued wrapping the set into one wonderful Monday night evening.

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UTRB have been compare to the likes of Bowie, Prince, Portishead, and Massive Attack – all good artists of comparison. Having now seen UTRB live I would argue they sound like a love child of ODESZA and Macklemore and Ryan Lewis. Patchy beats, surprising samples, melodic rhythms and soft but sharp vocals over deep lyrics push this trio into a unique grown up territory of music.

All members of the band are in their own way multi-talented James Gordon plays keys and percussion among other things, Elliot Wall drums and programs together with Gordon while Pete Lawrie Winfield represents on the mic, guitar and you guessed it, the trumpet.

Fronted by Winfield’s commanding personality UTBR build a rather impressive stage presence. With tracks ranging from soft and powerful like “Goldfish” to the upbeat dance rhythms in “A Taste of Silver” the audience seemed to be both impressed and entertained.

Having just released their 11-track debut album, A Lesson Unlearnt, UTRB are on tour supporting London Grammar and their first post-release show happened to be at Toronto’s Sound Academy. Not a place where you commonly see new bands but being associated with London Grammar has it’s perks. One of those perks is a newly developed 700 people fan-base – Toronto may have not been very familiar with UTBR before but they will now definitely remember the band.

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Over the years the group has recorded a box full of singles and two notable albums: Drink the Sea (2010) and Love Death Immortality (2014) and developed a deep and meaningful relationship with their fans. In an interview with Billboard the group has said that through getting to know the people who listen to their music they learned that it is “not about us getting on the stage and making tunes. This is about people using music and community as a way to get through life,” and that aspect certainly shows in the way The Glitch Mob carry themselves.

Love Death Immortality was meant to be ab album that defies the trends of EDM. Through collaborations with a fairly tight circle of friends and acquaintances edIT, Boreta, and Ooah were able to create an album that despite falling into the electronic music genre is very melodic, rough around the edges, rock inspired sonic collection of tracks in some instances embellished by the vocals of Aja Volkman.

For their 2014 live tour The Glitch mob introduced a new toy – The Blade. Created by Martin Phillips it is a new musical element created by movie set designers built to host both lights and instruments. For edIT, Boreta, and Ooah, The Blade is a literal representation of who they have become. Having recently seen the show live it is safe to attest that The Glitch Mob has grown into a solid collective bedazzled by custom toys, that allow their music to come through in very unique, and often very loud, memorable ways. Here’s what that looks like:

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As time went on Fink’s singer/songwriter line up of albums grew with a very specific, Fink sound that acquired a tight and dedicated niche following of fans. You will hardly hear his music on the radio, you will, and probably have, heard a song or two in a TV series or a commercial.

Looking over his discography there really is nothing mind blowing about Greenall’s music but everything about it is unlike the mainstream – there is always a story, the music evolves and grows throughout the track, Greenall’s voice is calming and somehow nurturing, and nothing is the same regardless of the compositional consistency. Hearing Fink once has a power of drawing you into the fan club and you can’t walk away from it unless you listen to the album at least a handful of times.

When Fink started singing, Ninja Tune pushed him towards becoming a primarily live stage performance. The show has evolved from the first tour in 2006 so it was no surprise Toronto’s MOD Club was packed with smiling faces.

London’s Douglas Dare begun the night with his soulful keyboard driven performance. Dare’s voice, much like his music, is powerfully sad and despondent which turned out to be a perfect start to an equally melancholic Fink set. For the main show the stage was lit up with what seemed like a hundred office lamps. There are no computers or mixers on this stage, just three guitars and a drum set.

I think we often forget what good acoustic sounds like, or associate it with a solo act in the corner of a dive bar singing covers of The Clash but a solid set of live instruments can build a bigger than the world sound that wraps the room with guitar strings. Fink live is one of those acoustic shows that exceeds all expectations of a typical singer/songwriter performance. The sheer scale of what you see and what you hear is encompassing and swimmingly smooth.

For nearly two hours Fink played songs from their newest album, Hard Believer, a few from Perfect Darkenss, and even some from Distance and Time. Though many of Greenall’s songs have been featured in various movies and shows “Warm Shadow,” soundtrack for The Walking Dead season 3, seems to be their favorite pop culture feature. Without a doubt, that one track has grown their following over the last year but hardly anyone felt like a brand new fan at the show. Eyes closed people were singing along with smiles all around the room tapping, clapping and bopping to every track.

As the band wrapped up the show with a quick encore the crowds poured out of the venue with stacks of newly purchased vinyl. Let’s make this into a tradition and do it all again same week next year.

photos by Luis Enriquez

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Though not many people showed up for the opening act the venue filled in for Chet. It was obvious people were there only for him. Without any accompaniment he started the set with an instrumental performance and went back and forth with tracks from Built on Glass, Thinking in Textures, and his Flume collaborations. Between the songs he shared stories to the fully engaged audience, holding on to his every word. From the front to the back people were shouting lyrics, occasionally tossing frantic jazz hands up into the air.

The thing about Chet Faker is it’s not just his voice, the lyrics, or the way each track magically comes together into an adventure. It’s how the music comes to life in front of a live audience: the instrumental tracks are faster and more involved while all of the lyrical songs are elevated with energy drawn from the gawking crowd.

It’s safe to say that those who like Chet Faker don’t just like him, they obsess over him. No one listens to an album just once, not even twice. It’s on repeat for almost everyone who listens to it through the first time.

People had to be kicked out of the venue long after the show was over because everyone was wandering the Hall in smitten amusement finishing up their drinks. Once you leave, even a day later, the feeling of that show stays with you, like a trip to a place somewhere in the corner where even sadness is sprinkled with sugary goodness and joy.

photos by Luis Enriquez

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While some managed to leave Downsview Park with just a muddy footprint (how they got around the grounds is a mystery to me) most people were covered in mud to their knees. The passionate music fanatics were decorated with war-stripes and covered in spots because during each particularly good mosh pit, it would rain mud.

Downsview Park covers cornfields of space (minus the cornfields) with multiple hills building a scenic landscape around the four stages. We all witnessed some wonderful sunsets over the weekend and a bunch of people flying kites under a grey sky. The carnival portion of the festival was lost amid the massive space and while everyone seemed to enjoy a Colossal Onion most people missed the (sad, sad) circus themed wrestling match somewhere in the middle of the park.

Now that we’ve set the scene let’s get to the music.

The crowd was clearly divided; most people only came for one day with Saturday being the heavier, louder line up and Sunday showcasing the now old-school headliners. Taking Back Sunday and Rise Against immediately turned into a tight muddy mess with people surfing back and forth in front of the stage dropping on the ground like hot potatoes, throwing ripples of mushy water onto the surrounding crowd. This crowd is serious, no shame, just glory and slightly angry joy.

On the more subtle side of performances, Awolnation drew half of the park to the hill saving the infamous “Sail” until the end. The band’s energy is pretty fantastic but they seemed to lack focus. Tracks vary in sound – so much so that if you heard the beginning and the end of the set separately, you’d think it was two different bands. We call this a one hit wonder, but go ahead, prove us wrong.

Looking around it was obvious Death From Above 1979 drew a good chunk of the crowd. A varied piece of the audience was proudly wandering the park in branded t-shirts both days of Riot Fest. With a new album, The Physical World, having just recently hit the shelf, DFA1979 was on fire, killing it track after track while poking fun at the suburban kids in the front rows.

The highlight of the night was The Flaming Lips circus. With all of the theatrics decorating the stage, the music was lost into the wonderland of “giant fuckers” dancing around Wayne.

The following day a competing performance from Die Antwoord wired up the day. Both Ninja and Yo-Landi Vi$$er entered the Rock Stage with masked dancers and orange jump suits which fairly quickly peeled off in layers down to the signature short-shorts. As Yo-Landi would say: Bye-bye.

Overall Sunday proved to be a more steady flow of smooth sound. While Stars briefly tried to raise a political revolution in between guitar tuning, Death Cab for Cutie brought together all of the lovers, secret fans and well, everyone who’s ever heard “Soul Meets Body.” This was peaceful and cheerful with people swaying and nodding to the music almost in tune.

The transition to The National seemed only natural. Ohio brought it home. Thank you Riot Fest, for keeping us warm at night.

See more photos from Riot Fest on our Facebook page. 

photos by Luis Enriquez

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While the line-ups were strong, and the vendors local, this year’s additional south stage that expected patrons to sit on a near-90-degree angle while dodging groundhog holes could have been better stationed. Aside from the usual festival nonsense, like bad overpriced beer and limited food choices TURF offered a few things that are worth talking about. Here’s a look back at some of the better TURF 2014 highlights:

Gary Clark Jr: This Texas native is a fireball on stage and on the guitar. Playing an afternoon set, the Grammy-award-winning artist played a series of blues-inspired rock ‘n roll that drew easy comparisons to Jimi Hendrix. The crowd was receptive and many a person could be overheard marveling at this rising star’s sheer talent. A treat to watch.

Beirut: Oh, Beirut. With their distinctive, and heavily brassed, indie/baroque pop sound, this band, who originated in Santa Fe, headlined TURF’s first night. Frontman Zach Condon’s silky smooth vocals were delightfully rich and colored, and awesome to witness when accompanied by the blast of trumpets and an accordion. Enrapturing the crowd, their set satisfied the needs of fans eager to hear favorites like “Nantes” and “Guyamus Sonora.”

Violent Femmes: The Milwaukee natives arrived on stage before an anticipatory crowd, including a tambourine-wielding fan whom they would later invite to join them for a song. While this is a band with a serious history, their energy remains, especially when charged by the crowd. Offering “Blister in the Sun” and “Add it Up” as set highlights, these guys still put on a great show.

Gaslight Anthem: With frontman Brian Fallon’s gregarious onstage presence (including praising the Violent Femmes for not “having any stinker songs”) the Gaslight Anthem tickled both the emotions and musical senses of TURF’s late afternoon crowd. Playing hits from their earlier records as well as a new single “Rollin’ and Tumblin'” off their upcoming album Get Hurt, the band also strayed into the cover song territory with a rendition of “House of Rising Sun.” Their matching suits and button-downs were suave, albeit palpably sweaty beneath July’s blazing Sun. For a band that’s only been together since 2006, they have a large discography that has helped to drive their appeal.

Hey Rosetta! The beloved Newfoundlanders are a fantastic choice for festivals, as they not only offer a laid-back, inclusive vibe, but folk songs that are a romp-stompin’ good time. Frontman Tim Baker tinkled the keyboard and guitar strings, with the six other members playing an assortment of instruments that ranged from violin to drums, bass, and cello. Perhaps due to the group’s sheer size, an orchestral feeling emanated, particularly with hits like “Yer Spring” and  “Young Glass.” Looking forward to new music from these guys.

Sam Roberts Band: Juno Award winning Sam Roberts finished off Saturday’s line-up with a well rehearsed set that showcased Roberts’ vocals and Canadian pride.  It felt fitting to have a Sam Roberts (despite being a Montrealer) headline a Toronto festival, and regardless of your nationality, the set’s upbeat energy was enough to garner appreciation. Playing songs off older albums and his latest record Lo-Fantasy, including crowd pleaser “We’re all in this together,” Sam Roberts is a seasoned musician that knows how to rock.

See more photos from TURF on our Facebook page here.

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