Blarney Stone
May 27/07
Nick Pannu, The Discorder
Clichés tend to lack conviction. Just because a phrase is repeated and sounds dull, it doesn’t mean it’s false. How often is the sentiment echoed that listening strictly to a CD limits perspective on a band? Well, no matter how often you’ve heard this, it definitely holds true for the Town Pants. Without seeing them live, it’s impossible to catch the genuine essence of the band, whose show is an experience that leaves a lasting impression.
On this night, the Town Pants made their return to the Blarney Stone where the band was originally incarnated ten years ago. Throughout the evening there was Celtic dancing, a jeering chorus of patrons and raised mugs, as band members repeatedly made toasts. The roof of the Blarney barely capped the energy and euphoria of the concert goers, who never slowed down—even after last call.
While watching the Town Pants, one can’t help but appreciate the versatility of its members, as they effortlessly switched roles and instruments. At times, Aaron Chapman would take the mic, at others, Duane Keogh would lead. Dave Keogh was also equally impressive as he alternated between banjo, guitar, vocals, mandolin and tin whistle. Joining the band only a year ago, Virginia Schwartz added another element to the band, as well. She played the fiddle with so much energy and poise that she made it look easy.
Throughout the night, the Town Pants expressed their gratitude to their cult-like following here on the West Coast. The band shared interesting anecdotes, from their humble beginnings in Vancouver, and of course, to their first performance at the Blarney. But not only were the Town Pants celebrating 10 years together, they were also welcoming the release of a new album. Fans had traveled abroad from as far as New York to celebrate the special night, which was actually being recorded live.
Honestly, I had seldom listened to Celtic music before, and knew fuck-all about Celtic dancing, yet I never felt out of place. The energy of the band and audience was amazing. I was even ready to dance and try to pick up a few Celtic moves in the process. It was a wonderful night all around.
Nick Pannu
Monday, December 31, 2007
Sarah Wheeler
Concert Review: "Hitting all the high notes"
Nick Pannu, The Peak
Sarah Wheeler unleashes her mesmerising voice at the Backstage Lounge
The Backstage Lounge lies within a tiny enclave on English Bay just beneath the Granville Street Bridge. Performances at the venue often eclipse the area’s tranquility. One Sunday night a couple of weeks ago was no exception. Bruce Knauer kicked off the night, followed by acoustic mastermind Steve Dawson. Their performance was fulfilling enough to quench the appetite of those seeking out the aura of the Backstage Lounge. Yet it was perhaps the final act of the evening that raised the bar and expectations for live events at the venue. Unpretentious and non-threatening, Sarah Wheeler casually walked onto the stage. Starting her set off a little subdued, then abruptly like an inconspicuous viper poised for the attack, Wheeler effortlessly let her famous high-pitched vibrato loose.
Wheeler’s voice leaves a lasting impression. It’s not uncommon for audience members to cheer their admiration for her voice. Not only able to hold a high note for an extended length of time, Wheeler also incorporates unexpected changes in tone. Audience members were engaged as she started her beat in a mellow capacity, then gradually rose to a high pitch before bringing it down again. Wheeler’s vibrancy and energy is prominent in her vocals, yet her repertoire is versatile. This particular night Wheeler seemed to be making the conscious effort to experiment and showcase ways of communicating musically. There were some uncharacteristic mellow beats that night, whereas on other occasions Wheeler seemed to take a step back as she let her drummer and bass players go.
Wheeler’s range and diversity is demonstrated on her album Black Helicopters. The Vancouver Sun, The Province, and Westender have given Black Helicopters rave reviews not only for Sarah’s voice, but also for the album’s versatility. It starts with a high tempo and gradually progresses to a more subdued, acoustic sound. The tracks also show Wheeler’s talent as a songwriter. While their meaning isn’t explicit, Wheeler incorporates thoughtful similes and metaphors in her lyrics. If there is a point she wants to establish, it’s often implied.
When I spoke to Wheeler about her style of writing after the show, she said, “I tend to take that open-ended approach to my songwriting because the listener will always have a different interpretation.” The nature of songwriting, she said, is to tell what happened then let the audience derive their own meaning. “I don’t try to give any answers.” Taking the journey to one of Wheeler’s shows will be an experience you won’t easily forget.
Nick Pannu, The Peak
Sarah Wheeler unleashes her mesmerising voice at the Backstage Lounge
The Backstage Lounge lies within a tiny enclave on English Bay just beneath the Granville Street Bridge. Performances at the venue often eclipse the area’s tranquility. One Sunday night a couple of weeks ago was no exception. Bruce Knauer kicked off the night, followed by acoustic mastermind Steve Dawson. Their performance was fulfilling enough to quench the appetite of those seeking out the aura of the Backstage Lounge. Yet it was perhaps the final act of the evening that raised the bar and expectations for live events at the venue. Unpretentious and non-threatening, Sarah Wheeler casually walked onto the stage. Starting her set off a little subdued, then abruptly like an inconspicuous viper poised for the attack, Wheeler effortlessly let her famous high-pitched vibrato loose.
Wheeler’s voice leaves a lasting impression. It’s not uncommon for audience members to cheer their admiration for her voice. Not only able to hold a high note for an extended length of time, Wheeler also incorporates unexpected changes in tone. Audience members were engaged as she started her beat in a mellow capacity, then gradually rose to a high pitch before bringing it down again. Wheeler’s vibrancy and energy is prominent in her vocals, yet her repertoire is versatile. This particular night Wheeler seemed to be making the conscious effort to experiment and showcase ways of communicating musically. There were some uncharacteristic mellow beats that night, whereas on other occasions Wheeler seemed to take a step back as she let her drummer and bass players go.
Wheeler’s range and diversity is demonstrated on her album Black Helicopters. The Vancouver Sun, The Province, and Westender have given Black Helicopters rave reviews not only for Sarah’s voice, but also for the album’s versatility. It starts with a high tempo and gradually progresses to a more subdued, acoustic sound. The tracks also show Wheeler’s talent as a songwriter. While their meaning isn’t explicit, Wheeler incorporates thoughtful similes and metaphors in her lyrics. If there is a point she wants to establish, it’s often implied.
When I spoke to Wheeler about her style of writing after the show, she said, “I tend to take that open-ended approach to my songwriting because the listener will always have a different interpretation.” The nature of songwriting, she said, is to tell what happened then let the audience derive their own meaning. “I don’t try to give any answers.” Taking the journey to one of Wheeler’s shows will be an experience you won’t easily forget.
The Walin' Jennys
Concert Review: Wailin’ for the Jennys
Nick Pannu, Associate Staff Writer
The Wailin’ Jennys performed at the Capilano College Theatre on September 9.
It can be a little overwhelming having a conversation with someone who is in awe of a performance they have recently seen — their verbal exchange becomes oversaturated with hysteria. They’re stuck in one mode and they keep repeating phrases like, “That was the best performance I’ve ever seen.” Last weekend I succumbed to that level of uncontrollable hoopla after seeing the best folk musicians perform live: The Wailin’ Jennys.
Kicking off their Western Canadian tour on September 9 at the Capilano College Theatre, the Wailin’ Jennys played to a sold-out crowd. The response from the audience itself was amazing — a standing ovation at the end of the performance brought the artists out again to perform two more songs. The Wailin’ Jennys have, with no doubt, built up quite the cult following here on the West Coast; some Vancouverites surely have not forgotten the performance the trio debuted two years ago at the Vancouver Folk Festival. To this day, the Wailin’ Jennys hold the record for having sold the most CDs at the festival. Even at this recent show, a frenzy of people snatched their latest album, Firecracker.
Band members Ruth Moody, Nicky Mehta, and Annabelle Chvostek consolidate an original and unique folk bluegrass style of music. Individually, the band members have an artistic arsenal that is diverse, to say the least. As well, their vocals are also impressive. Performing their hit single, “The Devil’s Paintbrush Road” a cappella, they illustrated the depth of their vocals.
Even more impressive was the versatility the Wailin’ Jennys demonstrated, as they not only played an eclectic array of instruments, but played each of them very well. During one part of the show, Nicky pulled out her harmonica while Ruth Moody strapped on her accordion, and Chvostek played the violin. Other instruments incorporated into their performance included an acoustic guitar, tambourine, banjo, and ukulele. It was also incredible to see how they were able to co-exist as one unit, complementing and accentuating each other — surely their impeccable timing seemed to facilitate this. Seeing the Wailin’ Jennys perform was an experience in itself. The trio, who are scheduled to tour the rest of the continent, were quite humble with the overwhelming response they received, and promised that they would be back in Vancouver next year.
Nick Pannu, Associate Staff Writer
The Wailin’ Jennys performed at the Capilano College Theatre on September 9.
It can be a little overwhelming having a conversation with someone who is in awe of a performance they have recently seen — their verbal exchange becomes oversaturated with hysteria. They’re stuck in one mode and they keep repeating phrases like, “That was the best performance I’ve ever seen.” Last weekend I succumbed to that level of uncontrollable hoopla after seeing the best folk musicians perform live: The Wailin’ Jennys.
Kicking off their Western Canadian tour on September 9 at the Capilano College Theatre, the Wailin’ Jennys played to a sold-out crowd. The response from the audience itself was amazing — a standing ovation at the end of the performance brought the artists out again to perform two more songs. The Wailin’ Jennys have, with no doubt, built up quite the cult following here on the West Coast; some Vancouverites surely have not forgotten the performance the trio debuted two years ago at the Vancouver Folk Festival. To this day, the Wailin’ Jennys hold the record for having sold the most CDs at the festival. Even at this recent show, a frenzy of people snatched their latest album, Firecracker.
Band members Ruth Moody, Nicky Mehta, and Annabelle Chvostek consolidate an original and unique folk bluegrass style of music. Individually, the band members have an artistic arsenal that is diverse, to say the least. As well, their vocals are also impressive. Performing their hit single, “The Devil’s Paintbrush Road” a cappella, they illustrated the depth of their vocals.
Even more impressive was the versatility the Wailin’ Jennys demonstrated, as they not only played an eclectic array of instruments, but played each of them very well. During one part of the show, Nicky pulled out her harmonica while Ruth Moody strapped on her accordion, and Chvostek played the violin. Other instruments incorporated into their performance included an acoustic guitar, tambourine, banjo, and ukulele. It was also incredible to see how they were able to co-exist as one unit, complementing and accentuating each other — surely their impeccable timing seemed to facilitate this. Seeing the Wailin’ Jennys perform was an experience in itself. The trio, who are scheduled to tour the rest of the continent, were quite humble with the overwhelming response they received, and promised that they would be back in Vancouver next year.
Vancouver Folk Festival
Folk Fest 2006 Comes to Jericho Beach - Sunday
By Nick Pannu, The Other Press
Despite the temptations that a hot, sunny day presents in the Lower Mainland, none could possibly be stronger than the lure of the 2006 Vancouver Folk Festival. Managing to get tickets for the very last night I was definitely stoked in anticipation of catching the best acts of the festival. Maybe the wrong assumption to make considering that Feist was not performing the last night of the Fest. Actually, it wa.s a reason to expect artists with unpretentious genuine talent, not superficially hyped artists (life Feist), becoming overnight ptima donnas refusing to meet with any press.
Only mere steps past the main entrance I abruptly stopped to listen to New Zealand artist Mirirangi. Her vocals immediately caught my attention. They were good, versatile. She could sing a high prolonged pitch and effortlessly incorporate a beat box. Although her stage presence and voice were captivating, her means towards self-expression seemed a little unorthodox. Still, she was innovative, creating music right in front of the audience by incorporating tribal rhythms and rhymes, and producing spiritual chants that the audience was able to connect with. Her political rants, however, seemed prolonged and self-indulgent. Her feminist convictions seemed a little militant for my tastes.
As I proceeded further I noticed one particular band that possessed a diverse repertoire named Afrodi2Z, made up of seven band members, each playing distinct instruments including trumpet, guitar,
drums and saxophone. Often the saxophone and trumpet performed exclusively in unison. Walking further into the grounds of the festival I started to notice how the diversity of different artists was being consolidated. There were classic folk artists with a style that bordered country music; musicians that utilized non-contempory instruments that were hard to define and artists such as Vishwa & Salil that seemed totally outside the realm of folk. More impressive was the adaptability of different artists as they performed together. When not performing vocals, country/folk musician James Keelaghan played a chorus for Bethany and Rufus. It was interesting how artists accentuated their unique style while playing within a group of different artists. Bethany almost made it a point to belt out her high pitched vocals each time before it was Keelaghan's turn to retake the mic.
The climax defining the 2006 Vancouver Folk Festival was demonstrated on the main stage towards the end of the event. Spanish band Corquieu warmed up the subdued audience. Appropriately expressing their perception of the tradition of folk music were the 40 year folk veterans New Lost City Ramblers. Tanya Tagaq presented a traditional Inuit style of singing that was very physical. After some political ranting, Mighty Popo & the Urunana rw'abadatana showcased a soul reggae style that seemed to quench and pique audience members' appetite. Jane Siberry belted out some classic folk tunes. She delved into the pure context of folk as she cued her acoustics, and did not succumb to naive cheesy political rhetoric to please the crowd. She just sang and played music.
By Nick Pannu, The Other Press
Despite the temptations that a hot, sunny day presents in the Lower Mainland, none could possibly be stronger than the lure of the 2006 Vancouver Folk Festival. Managing to get tickets for the very last night I was definitely stoked in anticipation of catching the best acts of the festival. Maybe the wrong assumption to make considering that Feist was not performing the last night of the Fest. Actually, it wa.s a reason to expect artists with unpretentious genuine talent, not superficially hyped artists (life Feist), becoming overnight ptima donnas refusing to meet with any press.
Only mere steps past the main entrance I abruptly stopped to listen to New Zealand artist Mirirangi. Her vocals immediately caught my attention. They were good, versatile. She could sing a high prolonged pitch and effortlessly incorporate a beat box. Although her stage presence and voice were captivating, her means towards self-expression seemed a little unorthodox. Still, she was innovative, creating music right in front of the audience by incorporating tribal rhythms and rhymes, and producing spiritual chants that the audience was able to connect with. Her political rants, however, seemed prolonged and self-indulgent. Her feminist convictions seemed a little militant for my tastes.
As I proceeded further I noticed one particular band that possessed a diverse repertoire named Afrodi2Z, made up of seven band members, each playing distinct instruments including trumpet, guitar,
drums and saxophone. Often the saxophone and trumpet performed exclusively in unison. Walking further into the grounds of the festival I started to notice how the diversity of different artists was being consolidated. There were classic folk artists with a style that bordered country music; musicians that utilized non-contempory instruments that were hard to define and artists such as Vishwa & Salil that seemed totally outside the realm of folk. More impressive was the adaptability of different artists as they performed together. When not performing vocals, country/folk musician James Keelaghan played a chorus for Bethany and Rufus. It was interesting how artists accentuated their unique style while playing within a group of different artists. Bethany almost made it a point to belt out her high pitched vocals each time before it was Keelaghan's turn to retake the mic.
The climax defining the 2006 Vancouver Folk Festival was demonstrated on the main stage towards the end of the event. Spanish band Corquieu warmed up the subdued audience. Appropriately expressing their perception of the tradition of folk music were the 40 year folk veterans New Lost City Ramblers. Tanya Tagaq presented a traditional Inuit style of singing that was very physical. After some political ranting, Mighty Popo & the Urunana rw'abadatana showcased a soul reggae style that seemed to quench and pique audience members' appetite. Jane Siberry belted out some classic folk tunes. She delved into the pure context of folk as she cued her acoustics, and did not succumb to naive cheesy political rhetoric to please the crowd. She just sang and played music.
Sharon Jones & The Dap Kings
Nick Pannu, Associate Staff Contributor
Sharon Jones & The Dap Kings performed at the Commodore Ballroom as part of the Vancouver International Jazz Festival.
It has often been stated that attending a Sharon Jones & The Dap Kings concert is a good opportunity to have a lot of fun without getting arrested, and the June 26 show at the Commodore Ballroom was no exception. The stage’s energy permeated the entire ballroom as people came onstage to dance and others showcased their hip-hop antics on the dance floor. The crowd sang in unison as Jones belted out her funk tunes; no one was able to escape the allure. Even the more subdued couples were left in awe of Jones’ classic soul and funk rhythms. Yet there was an aspect of Sharon Jones’ performance that was unexpected and which blindsided the entire audience: her political rhetoric.
Upon setting foot on stage, Sharon Jones disclosed that soul is very much a part of her essence. She grew up in Augusta, Georgia – the birthplace of the Godfather of Soul, James Brown. She asks everyone to pay tribute to James Brown and everyone complies with her request by chanting his name loudly. She then delves into issues that are a little more serious. She lets everyone know that not only was she influenced by soul during her upbringing, but that it’s also in her blood – her origins are Native and African American. She acknowledged the marginalisation suffered by both groups through slavery and genocide, and then started talking about New Orleans and George Bush. Her rants about George Bush were amusing, but brief. Quickly, she consolidated all her energy back into the funk and rhymes of her music.
Sharon Jones and the Dap Kings possess a unique combination of funk and soul that has almost become endangered within the realm of contemporary jazz. Jones’ soul roots are firmly entrenched through her early upbringing in Augusta, Georgia; growing up after in Brooklyn, she absorbed disco and funk styles. She sang back-up for a few prominent bands of the era. After taking almost a two-decade hiatus she reemerged with the Dap Kings. The Dap Kings never lived through the funk era of the ‘70s, but studied it extensively. Guitarist Binky Griptite, David Guy on trumpet, Neal Sugarman on saxophone, and other Dap King members utilise a diverse repertoire of classic soul instruments. Their style easily compliments and perhaps enhances Sharon Jones. The Dap Kings performed exclusively for the first hour and a half and were quite impressive. Binky Griptite sang lead while on various occasions trumpet player Dave Guy performed solo.
With no intention of showcasing anything substandard, the Vancouver Jazz Fest fulfilled its objective on June 26 when it hosted Sharon Jones and the Dap Kings at the Commodore Ballroom. A year ago an audience of 90,000 at David Lam Park responded to Sharon Jones and the Dap Kings’ performance with a thundering ovation. Still resonating with jazz patrons who attended the event, it undoubtedly created a buzz with others who surely booked their tickets at the Commodore well in advance. Listening extensively to Sharon Jones’ albums, Naturally and Dap-Dippin’ one can easily become fixated on her music. Her live performances though are total euphoria; minor lighting problems and sound quality issues are easily eclipsed by the energy and passion that Sharon Jones and the Dap Kings evoke once they hit the stage.
Sharon Jones & The Dap Kings performed at the Commodore Ballroom as part of the Vancouver International Jazz Festival.
It has often been stated that attending a Sharon Jones & The Dap Kings concert is a good opportunity to have a lot of fun without getting arrested, and the June 26 show at the Commodore Ballroom was no exception. The stage’s energy permeated the entire ballroom as people came onstage to dance and others showcased their hip-hop antics on the dance floor. The crowd sang in unison as Jones belted out her funk tunes; no one was able to escape the allure. Even the more subdued couples were left in awe of Jones’ classic soul and funk rhythms. Yet there was an aspect of Sharon Jones’ performance that was unexpected and which blindsided the entire audience: her political rhetoric.
Upon setting foot on stage, Sharon Jones disclosed that soul is very much a part of her essence. She grew up in Augusta, Georgia – the birthplace of the Godfather of Soul, James Brown. She asks everyone to pay tribute to James Brown and everyone complies with her request by chanting his name loudly. She then delves into issues that are a little more serious. She lets everyone know that not only was she influenced by soul during her upbringing, but that it’s also in her blood – her origins are Native and African American. She acknowledged the marginalisation suffered by both groups through slavery and genocide, and then started talking about New Orleans and George Bush. Her rants about George Bush were amusing, but brief. Quickly, she consolidated all her energy back into the funk and rhymes of her music.
Sharon Jones and the Dap Kings possess a unique combination of funk and soul that has almost become endangered within the realm of contemporary jazz. Jones’ soul roots are firmly entrenched through her early upbringing in Augusta, Georgia; growing up after in Brooklyn, she absorbed disco and funk styles. She sang back-up for a few prominent bands of the era. After taking almost a two-decade hiatus she reemerged with the Dap Kings. The Dap Kings never lived through the funk era of the ‘70s, but studied it extensively. Guitarist Binky Griptite, David Guy on trumpet, Neal Sugarman on saxophone, and other Dap King members utilise a diverse repertoire of classic soul instruments. Their style easily compliments and perhaps enhances Sharon Jones. The Dap Kings performed exclusively for the first hour and a half and were quite impressive. Binky Griptite sang lead while on various occasions trumpet player Dave Guy performed solo.
With no intention of showcasing anything substandard, the Vancouver Jazz Fest fulfilled its objective on June 26 when it hosted Sharon Jones and the Dap Kings at the Commodore Ballroom. A year ago an audience of 90,000 at David Lam Park responded to Sharon Jones and the Dap Kings’ performance with a thundering ovation. Still resonating with jazz patrons who attended the event, it undoubtedly created a buzz with others who surely booked their tickets at the Commodore well in advance. Listening extensively to Sharon Jones’ albums, Naturally and Dap-Dippin’ one can easily become fixated on her music. Her live performances though are total euphoria; minor lighting problems and sound quality issues are easily eclipsed by the energy and passion that Sharon Jones and the Dap Kings evoke once they hit the stage.
Sarah Noni Metzner(Interview)
CJSF 90.1 FM
Sarah Noni Metzner performed with Corwin Fox at the Rime on Commercial Drive in Vancouver on November 12, 2005.
There has been a lot of hype and buzz surrounding relatively new and emerging folk artist, Sarah Noni Metzner. Her first album just released this year entitled Something Beautiful, has been getting rave reviews. Listeners are immediately captivated by the album's authentic sound. There is no disputing the sultry vocals that emanate from Sarah's voice, but something unique also flows apart from the acoustics - a blend of varied instruments each facilitating a soothing, yet not totally subdued beat. The result is invigorating.
With sincerity and a non-coercive approach, Sarah attempts to insight a paradigm shift on issues dealing with the environment, maintaining peace and gender equality. Often she adopts an introspective approach within her song writing that insight audible revelations. The themes are diverse and not restricted to political issues but include relationships with family, friends and partners as well.
Over the last couple of months I have rarely put on music and not played a track off her debut album. I found myself playing her CD over and over, wanting to dedicate an entire hour of radio just to her music. As you can imagine, I was anxious to see a live performance and gain some insight as to what type of inspiration Sarah Metzner draws from when creating her sound. I was able to catch her most recent show in Vancouver on November 12 at the Rime where she performed with Corwin Fox. After the show, I was lucky enough to conduct a one on one interview.
CJSF Radio: What artist(s) influenced you during your formative years?
Metzner: "Definitely Bob Dylan. As well as Blind Melon, Joni Mitchel and Taj Mahal. I have also incorporated unique female Jazz artists such as Fitz Gerald. Actually, there are a lot of other Blues, Folk and Jazz artists that have influenced my music. Living in Victoria for the last several years I was able to experience the independent scene, which is very rich in Victoria. I don't have a biased preference towards independent music. But, compared to commercial, independent music has fewer constraints on it, allowing musicians to experiment. You get to witness a medium of free flowing creativity."
Exactly how did your unique sound evolve?
"Well...it's a journey. Once one finds one's own original sound, then this will come across
in the music. Also, if one consciously makes the effort to be real and genuine then that will come across in the music."
Are political Lyrics written intentionally or is it something that you are not necessarily thinking about consciously but just somehow evolves within your mindset?
"It's innate, part of being. Everything is political. People can make a choice to open their eyes or keep them closed. I'm not trying to be preachy and in my music I make an effort so it doesn't come across that way. I just have a conscious commitment to be aware."
Does a different kind of inspiration emanate in different regions,...for example, spending a lot of time in BC as opposed to Central Canada?
"Central Canada has a lot more venues and there is more support for the arts. Not just in terms of preference, but actual financial support. So a lot of artists and people involved with the artists are working regularly.In BC it's more challenging to make it in the Arts. But there definitely are perks to performing in BC. It has comfortable community aspect to it. Personally that's how I feel because that's where my music growth started. About the mindset and political
disposition. BC definitely does have a different mindset or vibe that can influence
writing, lifestyle and social concerns. Liberal views have a higher density in BC, but a liberal ideology is not non-existent or less in other parts of Canada."
How does a road experience manifest into lyrics for a song?
"Diverse experiences in general manifest into lyrics for a song. Being on the road I find most potent in terms of creativity. Meeting lots of people initiates and enhances creativity. It's very busy, and chaotic. Seldom, I experience solitude, which can also initiate creativity because it's a change, something different. I pull on every experience and channel it into my music."
I've played the track "Corrina" often over the air. What inspired you to write that song, is that one of your personal favorites from your album?
"Actually, I didn't write Corrina. It's a cover song from one of Taj Mahal's albums, written in the early 60's. Growing up, it's a track I listened to quite often. My personal best song I would have to say is " Something Beautiful". I wrote that song while on tour through Clayoquot Sound to San Francisco. Not just the tour, but the whole process of creating the song was special. My mother and other family members were able to join me and be involved to an extent while I was in the studio recording. Being able to address an important issue and then having my family involved later on in the process was special."
Sarah Metzner's performance at the Rime was not a disappointment. The live performance lived up to my expectations and in ways surpassed it, including playing tracks that were not on the album. In comparison, her album is more reserved then her live performance, both Sarah Metzner and Corwin Fox let out their inhibitions that night in terms of lyrical and acoustic creativity.
Sarah Noni Metzner will be releasing a new album in early 2006 in collaboration with Corwin Fox. Click on Sarah Noni Metzner's website, http://www.sarahmetzner.ca/ for upcoming tour dates.
Sarah Noni Metzner performed with Corwin Fox at the Rime on Commercial Drive in Vancouver on November 12, 2005.
There has been a lot of hype and buzz surrounding relatively new and emerging folk artist, Sarah Noni Metzner. Her first album just released this year entitled Something Beautiful, has been getting rave reviews. Listeners are immediately captivated by the album's authentic sound. There is no disputing the sultry vocals that emanate from Sarah's voice, but something unique also flows apart from the acoustics - a blend of varied instruments each facilitating a soothing, yet not totally subdued beat. The result is invigorating.
With sincerity and a non-coercive approach, Sarah attempts to insight a paradigm shift on issues dealing with the environment, maintaining peace and gender equality. Often she adopts an introspective approach within her song writing that insight audible revelations. The themes are diverse and not restricted to political issues but include relationships with family, friends and partners as well.
Over the last couple of months I have rarely put on music and not played a track off her debut album. I found myself playing her CD over and over, wanting to dedicate an entire hour of radio just to her music. As you can imagine, I was anxious to see a live performance and gain some insight as to what type of inspiration Sarah Metzner draws from when creating her sound. I was able to catch her most recent show in Vancouver on November 12 at the Rime where she performed with Corwin Fox. After the show, I was lucky enough to conduct a one on one interview.
CJSF Radio: What artist(s) influenced you during your formative years?
Metzner: "Definitely Bob Dylan. As well as Blind Melon, Joni Mitchel and Taj Mahal. I have also incorporated unique female Jazz artists such as Fitz Gerald. Actually, there are a lot of other Blues, Folk and Jazz artists that have influenced my music. Living in Victoria for the last several years I was able to experience the independent scene, which is very rich in Victoria. I don't have a biased preference towards independent music. But, compared to commercial, independent music has fewer constraints on it, allowing musicians to experiment. You get to witness a medium of free flowing creativity."
Exactly how did your unique sound evolve?
"Well...it's a journey. Once one finds one's own original sound, then this will come across
in the music. Also, if one consciously makes the effort to be real and genuine then that will come across in the music."
Are political Lyrics written intentionally or is it something that you are not necessarily thinking about consciously but just somehow evolves within your mindset?
"It's innate, part of being. Everything is political. People can make a choice to open their eyes or keep them closed. I'm not trying to be preachy and in my music I make an effort so it doesn't come across that way. I just have a conscious commitment to be aware."
Does a different kind of inspiration emanate in different regions,...for example, spending a lot of time in BC as opposed to Central Canada?
"Central Canada has a lot more venues and there is more support for the arts. Not just in terms of preference, but actual financial support. So a lot of artists and people involved with the artists are working regularly.In BC it's more challenging to make it in the Arts. But there definitely are perks to performing in BC. It has comfortable community aspect to it. Personally that's how I feel because that's where my music growth started. About the mindset and political
disposition. BC definitely does have a different mindset or vibe that can influence
writing, lifestyle and social concerns. Liberal views have a higher density in BC, but a liberal ideology is not non-existent or less in other parts of Canada."
How does a road experience manifest into lyrics for a song?
"Diverse experiences in general manifest into lyrics for a song. Being on the road I find most potent in terms of creativity. Meeting lots of people initiates and enhances creativity. It's very busy, and chaotic. Seldom, I experience solitude, which can also initiate creativity because it's a change, something different. I pull on every experience and channel it into my music."
I've played the track "Corrina" often over the air. What inspired you to write that song, is that one of your personal favorites from your album?
"Actually, I didn't write Corrina. It's a cover song from one of Taj Mahal's albums, written in the early 60's. Growing up, it's a track I listened to quite often. My personal best song I would have to say is " Something Beautiful". I wrote that song while on tour through Clayoquot Sound to San Francisco. Not just the tour, but the whole process of creating the song was special. My mother and other family members were able to join me and be involved to an extent while I was in the studio recording. Being able to address an important issue and then having my family involved later on in the process was special."
Sarah Metzner's performance at the Rime was not a disappointment. The live performance lived up to my expectations and in ways surpassed it, including playing tracks that were not on the album. In comparison, her album is more reserved then her live performance, both Sarah Metzner and Corwin Fox let out their inhibitions that night in terms of lyrical and acoustic creativity.
Sarah Noni Metzner will be releasing a new album in early 2006 in collaboration with Corwin Fox. Click on Sarah Noni Metzner's website, http://www.sarahmetzner.ca/ for upcoming tour dates.
Subscribe to:
Comments (Atom)