The Weakerthans (Jetset Motel)
The Horseshoe Tavern. Tuesday, May 25, 2010.
This was a show I wasn't originally planning on. When The Weakerthans announced a gig at the Queen Elizabeth Theatre, it didn't take me long to think that was more than I wanted to spend for a show at a bigger venue than I prefer — and anyways, I'd found the band getting a little staid, and a sit-down show in a soft-seater might just push the mellow envelope a bit too far. But after seeing The Weakerthans close up at their Sonic Boom in-store and being reminded why I dig them, a second chance arose with this hastily-arranged add-on show. Billed as a special fundraiser for Library Voices1, here was a chance to see the band in much more intimate circumstances — and in an environment that might inspire them to some extra rockin' out.
Walked down to the 'Shoe, arriving to find a decent crowd — there looked to be a good turnout from the savvy, slightly-older demographic, the type who don't go to as many shows as they used to, and when they do, they come down early to grab a seat before things fill up. Jetset Motel were on stage and getting ready to play.
Originally from St. John's but now based in Toronto, the band came together while backing up singer/guitarist David Picco, touring his 2006 solo album Saturday Night Sunday Morning. Under the band name, they've apparently rocked-up their sound a bit on their recently-released self-titled album.
Calling to mind, say, early Wilco, the songs were admirable in their unfussy rigour — tightly constructed little roots-rock-tinged packages. The first few tunes followed the template of Picco on acoustic guit providing the framework for Jimmy Rose's electric work, keeping things lively but never distracting from the lyrics. The same applied to the tugboat rhythm section that kept things buoyant without diverting much attention away from the songs.
Picco switched to an electric guitar later on in the set, which added some more country-honk swagger, and there was a nice bit of contrast with Rose taking lead vocals for one song that had a bit of a rougher, rangier flavour to it.
The band was likable in an unpretentious way, but not especially likable. Which is to say they were entertaining for the duration of the set, but I wasn't strongly struck by the desire to dig for more. They're working from a strong base and will probably appeal to the roots-rock minded, but don't really stand out from the crowd as of yet.
The floor had well filled in between sets, but there was elbow room and a fairly relaxed sort of vibe. I could've done without the woman behind me singing along — to pretty much every lyric of every song. Then again, I could see several other people also singing along. It was that kind of crowd.
The Weakerthans took the stage with a slow intake of breath of in sonnet form ("Past-Due") before roaring to full rock'n'roll life with "Plea from a Cat Named Virtute", and for a little while, everything was pretty close to feeling exactly right. The quartet's sound was filled out with the addition of super-utility player Rusty Matyas2 adding trumpet, keyb and a bit of guitar where required.
An energetic run through "Our Retired Explorer" anchored an early focus on 2003's beloved Reconstruction Site. Perhaps because this was some of the band's material that I dig the most, it felt quite incredible for the first twenty minutes or so — this was certainly the close-up, rockin' show that I was hoping for.
Such intensity is hard to maintain, though, and perhaps wisely the band didn't try, letting the energy level drop off a bit after that with the dirge-y waltz "Leash" (from '99's debut Fallow). That was a good bridge to "One Great City!", with John K. Samson left alone on stage to sing along with the crowd — and by now everyone was singing along.3 Even with the band returning, the quieter tone was extended on a joined version of "(Hospital Vespers)" and "Bigfoot!" that was unexpectedly affecting.
It was only after forty minutes that Samson engaged the crowd in more than his customary between-songs aw-shucks-like "Thanks!", commenting, after an energetic close to boppy mash-note "The Reasons", "I think I hurt my head there, headbanging. I feel like I have a slurpee headache right now" — a particularly Manitoban thing to say. The brainfreeze vibe was expressed with a run of songs from 2007's least-of-the-bunch Reunion Tour ("Hymn Of The Medical Oddity", "Night Windows", "Civil Twilight") that was probably the least engaging stretch of the show. Not, y'know, stinko or anything, just less good, the songs hitting less firmly on those perfect little specifics. In a nicely structured touch, the set finished with "(Manifest)", the third of Reconstruction Site's sonnet-songs — played, like a novel unfolding backwards, in reverse order from their appearance on the album.
Then a generous encore, beginning with Samson again out alone at the outset of "My Favourite Chords", the band following along to help finish it off. And then a further three songs, including closer "Exiles Among You", which was nice to hear.
Putting aside the feeling that, in the absence of new material, the band is coasting a bit, this was a pretty good show. I'm sure I enjoyed standing a few feet away from the band more than I would have the next night with them raised up on the high and distant stage at the Queen Elizabeth.
A couple songs from this set: check out the band rockin' out here, and on the quieter side here.
1 A Regina-based band who lost their equipment to flood damage after a watermain break.
2 A member of Winnipeg rockers The Waking Eyes, and, more lately, Imaginary Cities.
3 It used to mildly annoy me when people sang along to this, as if people who had never been there had no right to join in on the refrain of "I hate Winnipeg" — but I've come to realize that it's not specifically about Winnipeg. It's about the love/hate tension anyone feels with the place they come from. Samson's specifics — ones that I understand viscerally — stand in for whatever is crappy/familiar in the place you're from.
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