Gig: Baby Dee / Timber Timbre / Ghost Bees

Baby Dee / Timber Timbre / Ghost Bees

Over the Top Festival. 6 Nassau St. Thursday, May 21, 2009.

I'd gone to a film last year, but had never attended a gig at the Over the Top festival. This year I was interested, but scanning through the list of gigs, it was pretty much all stuff I was unfamiliar with. Unsure of what to see, I took the plunge and bought a wristband and resolved to try and take in as many previously-unseen bands as I could. Decided to start off with this Baby Dee show, not only from some vaguely-remembered plaudit for her unique stagecraft, but also to check out Timber Timbre, recently in the news for having signed with Arts & Crafts.

So headed off to the mysterious 6 Nassau Street. The venue had a bit of the feel of a speakeasy, largely because of its hidden, look-in-the-alley entrance. A largely unfurnished room, maybe a dozen yards square, with the bands set up in one corner. And not a lot of air movement on what turned out to be the year's first hot day. This meant that once it began to fill up, it got a little stifling in the room. Fortunately it was a sit-on-the-floor and soak it in kind of show, so perhaps smoggy lassitude was contemplative observation's midwife.

First up and establishing this vibe well were Ghost Bees (now T.O-based, but via Halifax) a duo of twin sisters Sari and Romy Lightman (guitar and mandolin) backed by Maya Postepski (percussion — also of Katie Stelmanis' band). Ghost Bees' music is wide-eyed folk, two gorgeous voices intertwining in eerie mysterious-twin synchronicity. Throughout the performance, the sisters watched each other carefully as they unfurled stories about witches and tea-leaf readers, giving a sort of private world folie à deux vibe. In the wrong context, I think this could all come off as too precious, but live, in this room, it was quite lovely. For their last two songs, the musicians pushed away their microphones and unplugged their guitars, singing unamplified to the rapt crowd. A good start to the night.

During Ghost Bees' last song, someone from the venue opened the side door to let in some air, and once the set ended, much of the crowd staggered outside to cool off, a living diorama of hipster types in the alley watched over by the staff in a Spadina restaurant's back door with some wry curiosity. Soon it was back in and a fairly full house settled down to hear Timber Timbre.¹ The band began with a rising ambient wall sounding like bird calls before guitarist/vocalist Taylor Kirk began to weave tales of haunted dark places. The band — lap steel, saxophone, violin — was well-constructed to add colour and texture more than rhythm. The songs were like a gothic mansion, all stately and roomy enough to explore around in. And possibly occupied by ghosts. A sharp set was capped by "Trouble Comes Knockin'", the excellent final selection, which felt like it was built from a pile of bones dug up at that crossroads where Robert Johnson did some business. Not recommended for use while operating heavy equipment or while trying to inspire the hopes of a young generation, but surely worth hearing.

A recording from this set can be found here.

And then, after another cooling break in the alley, a fair amount of turnover in the crowd — the numbers were reduced a bit, and now it looked like several of the cohort from the previous night's Katie Stelmanis had come along. Meanwhile, the harp and organ were being pulled into place for Baby Dee. I'm staggered in attempting to reduce this force of nature to mere descriptions. Imagine circus-ground organ and a quivering croon but also soft, melodious fingers on harp strings — two sets of tunes that were a little far apart, yet totally synthesized somehow in a way that made sense. I tended to enjoy the organ songs more — they put me in mind of British Music Hall tunes, like a bawdy George Formby, and were filled with viciously witty lines.² The harp songs were less immediate, though lovely in their own way — and it's a relatively unusual experience to see a harp in action, especially in the hands of a singer. This was a totally singular experience and a great set. Overall, a very good night, making me feel good for having taken the plunge.

A recording from this set can be found here.

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¹ Pronounced timber TAMber.

² Most amusing moment of the evening: one of those cooks from across the alley stepped into the room to see what all the fuss was about and looked around slightly suspiciously, like he thought the crowd were all putting him on by sitting around and listening to Baby Dee. He departed and, a few minutes later, brought a co-worker in with him, as if to prove his point about how crazy we were.