Tag: Olympics

Black Dub Magic

Olympics? What Olympics?! If I had to award a gold medal, it would go straight to Black Dub.

The super-band is lead by incredible Canadian musician and music producer Daniel Lanois and features the super-charged pipes of Trixie Whitley, daughter of the legendary Chris Whitley. A few lucky souls have already seen them live this year, but Black Dub treated fans and curious music-lovers February 17th by streaming a live broadcast from New York City’s Bowery Ballroom. Together with the multi-talented Brian Blade on drums and bassist Chris Thomas, the concert was filmed by Here Is What Is collaborator Adam Vollick. During the hour-long set, the band covered a good bit of their own material along with some Lanois favorites, and proved why their upcoming release is one of the most anticipated of the year.

Images displayed in the run-up to the show were a surreal, ambient mix that reminded me of the work of artists as wide afield as the Emergency Broadcast Network and Bill Viola to Mark Rothko, and even Antonioni. The zipper of comments that ran along the side of the live feed was filled with impatience, excitement, and even a few hilarious observations from people in the Bowery’s capacity audience (ie: “I can’t see who’s in the VIP section. Granny’s eyesight is bad here.”) Watching the mix of images and reactions, there was, I felt, an truly intimate quality to this kind of live event; with just a cozy room to play in and a friendly crowd sharing thoughts and reactions in real time to Vollick’s every close-up and wide pan, it was the kind of communal, creatively connected experience that nicely reflected the band’s ethos.

“Surely” by Black Dub

As for sound, trying to categorize Black Dub’s music is no easy task. It’s a mix of grinding rock, blues, early punk, and dark rockabilly, with an occasionally eerie, swampy, Waits-like slink and touches of Sunday-morning gospel. Watching them live from the Bowery, this defiance of definition was obvious, loud, and proud. Whether steaming through blues-influenced numbers like “Silverado“, the gospel-meets-blues hip-swaying meditation of “Nomad Knows“, or the earthy, 21st century psychedelia of “Ring The Alarm“, one was continually reminded (whether via rimshots, timbres, key changes, well-placed pauses, or a combination therein) of the magical chemistry at work between these accomplished individuals. Chemistry is a huge key to what makes Black Dub so special, particularly in this era of superstar narcissism, where every American Idol seeks to be a famous icon instead of a real musician. Black Dub turn their collective back on all that, focusing instead on a gorgeous exchange of ideas manifest in sound. In many ways, their work harkens back to jazz, with its focus on group dynamic, interplay, improvisation, and experimentation. The online audience lapped it up, perhaps hungry for a real musical experience that showcased real people playing real instruments.

One of the finest instruments on display was Trixie Whitley’s powerful, soul-searing voice. Moving comfortably from mellow to blasting to soft and pleading, Whitley proved herself a formidable front-woman. In addition to showing her incredible vocal chops, she also showed her musical versatility, bashing along with Blade on her own drumkit, playing a keyboard, strumming a guitar, or providing vocal back-up at points. With her black suspenders, white t-shirt and fitted black trousers, with blonde hair neatly tied back in a pony tail, she cut a stylish, strong figure reminiscent of rock feminist icons like Patti Smith or Debbie Harry in her early Blondie days. Lanois, in knit cap and low-slung jeans, played a few of his own hits, including a grinding, guitar-heavy version of “The Maker” with a shuffle-beat percussive undertow courtesy of Blade, and Lanois’ own effects-laden guitar work lending a virtuosic, woozy counterpoint to Whitely’s acidly sharp backing vocals.

Overall, the evening was a showcase of musical talent that conjured a kind of beauty rarely experienced in live show -whether in-person or viewed online. The balance of instrumental and vocal pieces, of thoughtful and straight rock-out numbers, of give and take between musicians, demonstrated both an awareness of their audience and a courage of creative convictions. Black Dub aren’t out to make sing-a-long favorites, but they are out to create a musical experience for both themselves and their listeners. I got the distinct feeling in watching them that no two concerts are ever quite alike. They’re so aware of their collective talent as a whole but never become arrogant within their individual egos. That doesn’t mean they don’t rock out, however. What a gorgeous showcase of adult rock and roll: real, lived-in, world-weary, and honest, or, as one viewer typed on the live feed, “fuzzy, smoky, and sensual -that’s what I came here for.” It could be the definition for rock in this century, and Black Dub are already ahead of the curve.


Photography by Brad Gilley.

Not Anon… But Awesome


Here’s a note my friend Thom Marriott imported from his own, very-fine blog, to Facebook. It’s worth a read (or two):

In a major cabinet shuffle this morning, Stephen Harper announced sweeping changes to his inner circle and introduced many new faces to some very important positions. The major news is undoubtedly the inclusion of 10 women, representing 26% of the cabinet seats. This is a long overdue move by any sitting government, and the Conservatives should be lauded for this move in the right direction toward equality in parliament. However, I have concerned myself with one specific move – one which actually demotes a woman from a major to minor portfolio.

Josee Verner, MP from Louis-Saint-Laurent, was demoted this morning from her post as Minister of Canadian Heritage, Minister on the Status of Women and Minister responsible for Official Languages to Minister of Intergovernmental Affairs and Minister for la Francophonie (two minor cabinet posts). This is a fantastic move on the part of the government. Ms. Verner has been an embarrassment in her post of Heritage minister, cutting programs without the ability to defend those cuts and failing to fight for her portfolio and its programs with the same verve that is expected of other ministers in their positions in Industry, Environment or Finance. I will grant that she was overburdened by leading three portfolios, but that simply emphasizes the lack of commitment to arts and culture by this Conservative government. Stephen Harper and Josee Verner have played that portfolio to their grassroots supporters, following the pro-free-market stance of Margaret Thatcher’s Tories in England. However, the English Conservatives have not held power in England since the retirement of Thatcher, and Ed Vaizey, the shadow cultural minister for the Brit Tories, is now pushing for more government funding of the arts, exclaiming that politics has no place in arts funding.

“Government money is pump-priming money,” he says. “Success breeds success. The irony is, if you double the grant to an arts body, you probably end up doubling the amount of private giving to it as well, because people say, ‘I want to invest in something that has the backing of the government.’

Today, Mr. Harper made a change to the landscape of arts in politics. James Moore, the youngest cabinet minister (he’s 32), has been named to the Heritage post and I must admit that it concerns me. Mr. Moore holds college diplomas in economics and business administration and a university degree in political science. He was first elected an MP at 24, quickly becoming Deputy Foreign Affairs Critic, Deputy National Revenue Critic, Senior Transport Critic, and Vice-Chair of the Commons Transport Committee. After re-election in 2004, Mr. Moore served as Official Opposition Transportation Critic, as well as Amateur Sport Critic in Harper’s shadow cabinet. After the Conservatives took power in 2006, James Moore was appointed to Parliamentary Secretary to both the Minister of Public Works and Government Services and the Minister for the Pacific Gateway and the Vancouver-Whistler Olympics. By the time the most recent election rolled around, James had again shifted – this time to Secretary of State for the 2010 Olympics.

James Moore is obviously a hard worker and well liked within the Conservative Party. In his first term, he was named “the best up-and-coming MP” four years in a row by fellow MPs and staffers. His resume is impressive and his education is extensive. However, where are the qualifications to understand the portfolio that he has just been handed? What is his knowledge of the arts industry and its needs? In this time of uncertain economics, do we really have time to wait while a former transport critic learns the ropes of an underfunded portfolio? Will this MP take the time to fight for the support that is so desperately needed in the arts and culture industry, or is he already looking to the next rung on the ladder?

A change in leadership at Heritage Canada is a good thing, and I hope that James Moore is the right person for the job. If so, I leave him with this advice…

Listen.

Listen to the artists that strive to eke out an existence with meaning; with purpose.
Listen to the songs, the poems, and the plays that attempt to define our identity as a nation.
Listen to the heartbeat of a nation longing for a culture to call our own.
Listen to us and our cultural industry will thrive and be the envy of the world.
So much is possible from the office you now occupy, Mr. Moore. All you have to do is listen.

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