Gig: Betty Burke

Betty Burke (The Phonemes / Kathleen Phillips)

The Imperial Pub Backroom. Thursday, October 21, 2010.

Out on a Thursday night to the cozy back room of the Imperial Pub on Dundas for a show put on by the good folks at 50 River. The series is the brainchild of musician/promoter Holly Andruchuk, who can be found greeting patrons at the door with a bright smile and saying, "thanks for supporting live music!" There's a genuine charm in the whole presentation, starting with the idea that rather than just giving the musicians a stage to play on, there's a curated experience, including knowlegable write-ups that you can check out to acquaint yourself with the musicians before coming down. In the sliver of the room, the tables are topped with tall candles stuck in empty liquor bottles as the occasional rumble of conversation from the regulars at the front bar occasionally wafts through the air.

Besides the two bands on this night, each set was preceded by some comedy from Kathleen Phillips, delivering her deadpan stylings in storytelling mode, the first set discussing the shortcomings of cats (the "nihilist unemployed poets" of the pet world) in her dry drawl. Entertaining stuff, not always taking things to the obvious destination.

That applies, too, to The Phonemes, centred around the always-joyful Magali Meagher with frequent co-conspirators Stephanie Markowitz and John Tielli (plus a nimble guitarist whose name I didn't catch). I hadn't seen 'em for almost a year, so it was interesting to see how some of the newer material, now feeling a little more lived in, has gotten fleshed out. "Vanishing Point" is as catchy and appealing as anything Meagher has penned while "Paper Planes" (not, um, to be confused with the M.I.A. song) dances and drifts like its namesake. Meagher mostly played guitar, but also moved over to the piano for one number.

And then for a special treat, the band was joined by Maggie MacDonald for a bilingual duet on the sprightly yé-yé tune "Cet air-là", most famously performed by France Gall. MacDonald sang in English in her own translation while Meagher sang the original French, their differing voices (brash¹ and gentle, respectively) contrasting as much as the languages they were singing — but it all worked.

That would be the start of a series of guest stars that continued with Bobby Wiseman adding some piano to "Sunday Morning" and the members of Betty Burke adding percussion on "Steeples and People". Gentleman Reg, celebrating his birthday in a glittering pair of heels, came up for a sprightly version of "Pain Perdu". The Phonemes' off-kilter pop is always a good time and a chance for Meagher to give her friends something to sing about.

Listen to a track from this set here.

After another quick set from Kathleen Phillips (this time staying in grandmotherly character to tell a story about a weather-predicting dog) the show was switched over to an "AM Radio from a parallel dimension". That's the natural territory for Betty Burke, tellers of true stories. There had been some changes in the BB camp since I saw them last, with mainstay Maggie MacDonald now joined by Jo Snyder (guit) and Sheila Sampath (bass, keyboard). There were still echoes of the rootsy sound that Holly Andruchuk had provided while active in the band, but with an ipod providing drum machine beats the sound veered more towards new wave.² MacDonald was dressed for that sound, too, rocking a Patti Smith look in a blazer and skinny tie.

The band is undoubtedly MacDonald's show, but there's room for her bandmates — one song, for example, featured Sampath's lead vox. And in the same community spirit as the Phonemes set, there was a series of friends and collaborators joining the band on stage. Sarianna Mileski sang lead vox on "The Prince" and there was another appearance from Gentleman Reg for a duet ("I can make you come, but I can't make you stay") which was followed by cake, everyone in the room joining in on "Happy Birthday". And besides those guests, there was also a visit from MacDonald's sunglasses-wearing alter ego Loni Lalonde. "I had to get rid of Maggie... she had too much impulse control," said Lalonde, a channelling of MacDonald's Cornwall days.

The stage was jammed full of people as the band closed it out with "El Dorado". Spirited throughout, the set had a celebratory vibe. Good fun — a band you should definitely check out.³

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¹ "I'm not a singer," Maggie commented at the outset, "but I am verbose."

² Before one song, MacDonald gave praise to The Jesus and Mary Chain for their seminal historical influence in their use of drum machines, though interestingly the song that accompanied that comment owed at least as much to "Rivers of Babylon".

³ And, in fact, you have an excellent chance to do just that this Friday (February 25, 2010) at Holy Oak Cafe, where Betty Burke will be celebrating the release of their first EP. As a bonus, Evening Hymns are playing too.

Recording: The Phonemes

Artist: The Phonemes feat. Maggie MacDonald

Song: Cet air-là [France Gall cover]

Recorded at the Imperial Pub Backroom, October 21, 2010.

The Phonemes feat. Maggie MacDonald - Cet air-là

Full review to follow My notes for this set can now be found here — there were good times and guest stars aplenty. Have you been to check out the 50 River concert series in the cozy back room of the Imperial Pub? You should so totally go!

Gig: The Phonemes / Michelle McAdorey

Blocks Presents: The Phonemes, Michelle McAdorey and Betty Burke

The Gladstone Hotel (Melody Bar). Thursday, November 26, 2009.

Out again for the monthly Blocks Recording night at the Gladstone, this time with a couple acts on the bill I was interested in investigating, plus one familiar one. From a genre perspective, sort of an interesting night as well, as all three acts were pretty different from each other, but each could, at some level, be placed in some corner of the big category called "folk".

We were a little off the pace in getting there — stupid hybrid buses with their propensity to just quit working — and arrived with Betty Burke¹ already on stage. Managed to grab one of the last remaining tables and settle in. I'd been eager to check them out pretty much ever since I'd heard about 'em, mostly based on the fact that Maggie MacDonald² was involved. The band is normally a trio with Shaun Brodie — or possibly a five-piece now with rhythm section — but on this night it was only MacDonald and Holly Andruchuk. I was not familiar with the latter, but she has a solid CV of folkie hell-raisin', and is obviously a strong source of this group's musical direction — a sort of straight-ahead roots-rock. Or as MacDonald would put it, "we're in the true story business" — punk like Woody Guthrie was punk.

MacDonald is not the world's greatest singer, but she's a helluva vocalist, and it was great to hear her hitting her characteristic cadences, like in one song, coming down hard on those opening syllables: "New York and London are under water / lovers and liars swim together" — but also cool to hear those tics in a new musical context. "New Job", the final song, which included a sort of origin story of the band's name was rather good fun. I only caught about three-and-a-half songs, but I dug what I heard, and look forward to checking out the full band. More gigs, please.

Listen to a track from this set here.

Next up was Michelle McAdorey, who was certainly part of the draw getting me down to the show. Probably best known for her work with Crash Vegas, who'd flirted with Canadian semipopularity in the early '90's. Following the band's dissolution, she'd released a solo album at the other end of this decade, but had been keeping a low profile for the past while. Lately, she'd been said to be playing with some of the members of the local improvised music scene, and it was from this pool that she drew her lineup for this gig. This was the first show for a band including Eric Chenaux³, Ryan Driver, Martin Arnold and Blake Howard. I'd seen half of these guys playing just recently with The Reveries, and having that context in mind certainly helped me to sort of appreciate the musical place this group was coming from. Aiming for a meeting point between folk/songwriter and improvisational urges, there was a musical tension between droneyness and widdley-wah guitar, bringing to mind, say, MV & EE in a sort of mellow, rustic mood. It also felt — especially on songs like "Love Don't Change" — like it was bumping up a bit to that fine line that separates fluid musical exploration and noodly stoner jamming. With that in mind, I think I enjoyed some of the quieter, textured moments more, although they were a bit less at home in this environment, the crowd split between Friends of Blocks out eagerly soaking in the show, and those just out for a drink in a bar where some band happened to be playing. Given that, I'm already eager for this band to play somewhere in a more hushed environment — Music Gallery show, anyone?

Listen to a track from this set here.

The couple times that I'd seen The Phonemes during the summer they were playing as a duo + guests, with Magali Meagher playing with John Tielli on guit and theramin. This time the pair were accompanied by the keyb work and vox of Stephanie Markowitz, which fleshed out out the sound rather well. Meagher is an intriguing songwriter, her plainspoken lyrics flirting with a pop sensibility in a come-hither manner. It was certainly interesting to hear some of the new songs that I'd heard presented in a stripped-down format at this summer's shows getting filled-out arrangements, and Meagher's consistently upbeat patter and share-the-stage ethos — Maggie MacDonald was called up to add some percussion on "Steeples and People" — were good entertainment. But the fact that I was winding down with sleepiness on a work day sort of had me drifting a bit as things went on. A scattering of chatty people — including a table of oblivious young folks busily trying to impress each other with banalities and bottle service — was a bit of a distraction, too. But generally good stuff, and a nice step forward with the new material.

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¹ The name, it turns out, comes from a story about Bonnie Prince Charlie, the Jacobite pretender to the British throne, who, following his defeat in battle fled into exile disguised as his maid. All sorts of interesting things here to be spun out about gender/power/representation and so on, or as Maggie would say on stage, cutting to the chase: "we're named after a drag queen from three hundred years ago". Also note, adding to the mythic value of the band's name, that it was a MacDonald who came up with the plan and saved the prince.

² MacDonald, sort of a rockstar combination of Rosa Luxemburg and Ava Gardner, is currently a member of The Hidden Cameras and formerly of beloved post-punk Fall-owers Republic of Safety.

³ Chenaux, it turns out, had been a late-era touring member of Crash Vegas, so his creative partnership with McAdorey is a fairly longstanding one. I recall having enjoyed Crash Vegas back in its time in a "pop" sort of way — it strikes me that it would be interesting to perhaps revisit some of that in light of what I know now and see how much of this current freak-folk kind of vibe is there in nascent form.