Tag Archives: Lido Pimienta

WL14 reviews: Lido Pimienta @ The Garrison – Feb. 16, 2014

Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham

Lido Pimienta @ The Garrison for WL14 – Feb. 16, 2014. Photo: Tom Beedham

By Tom Beedham
Lido Pimienta might have played The Garrison back in November for All Toronto’s Parties, but the singer’s live gigs are never doubles of themselves. While that show saw Pimienta poised and performing in more of a headliner capacity, resulting in an invitation to the crowd to start an onstage dance party and Pimienta herself taking a stage dive, the much earlier scheduled Wavelength gig was more about theatrics than vibe dissemination.

Bringing friends and frequent visual collaborators Tough Guy Mountain onstage to decorate the environment with an upside-down Canadian flag, streamers, and the satirical visual brand experiment’s members themselves to provide some lackadaisical Canadian flag waving, at the top of her set Pimienta strolled onto the stage in a trapper hat and red sweater bearing Canada’s trademarked logo, and then—posing as if to sing read lyrics off of her cellphone—Pimienta delivered her own spin on the national anthem, “O KKK Canada.”

Frequently outspoken at concerts, Pimienta will often break to give rants about social and cultural issues, including Stephen Harper’s control over the Canadian government. For the most part, this performance was void of such digressions, no doubt to let the opening skit speak for itself.

It’s not the first time the musician has juxtaposed the country’s name with that of the infamous hate group. Pimienta has made passing remarks about it at previous concerts, and recently tweeted it in a message turning followers on to a CTV news broadcast about a woman, her children, and others who were removed from a Harper visit to Blood Tribe (an Alberta First Nation 200 kilometres south of Calgary) for “tweeting” remarks that were critical of the prime minister’s agenda: to discuss the First Nations Education Act, a controversial new legislation that detractors complain resulted from insufficient consultation with First Nations themselves.

“KKKANADA,” the tweet began, going on to link to the YouTube video in question. “SHAME ON @PrimeMinisterH EVIL REGIME KKKANADA – Our home ON Native Land!”

The rest of the show was more about the music, although Pimienta did break to opine on “dick pics” at one point. But regardless of your position on the separation of Concert & State, the politicking Pimienta does at her Toronto shows is essential to her project. Although frequently gigging in front of white, English-speaking crowds, born in Barranquilla, Colombia, when Pimienta performs she sings entirely in Spanish. The English spoken political asides provide context and (to a degree) protect her music from exoticization. And so it goes to follow that at the very least, paying attention to the banter and respecting it at the same time that you enjoy her music is to get the full listener’s experience. It will not only make you want to move in revolutionary ways, but also make you a better person.

More photos:
Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham Lido Pimienta @ The Garrison for WL14 - Feb. 16, 2014. Photo: Tom Beedham

Originally published by Aesthetic Magazine.

Another Long Winter

Inauguration of Long Winter’s second year hints at a less Fucked Up forecast
Words and photos by Tom Beedham

Doomsquad performing in the Samuel J. Moore restaurant on the main floor of The Great Hall on Nov. 8. November 8 marked the first time Long Winter used the restaurant as a venue for its programming. Photo: Tom Beedham

Doomsquad performing in the Samuel J. Moore restaurant on the main floor of The Great Hall on Nov. 8. November 8 marked the first time Long Winter used the restaurant as a venue for its programming. Photo: Tom Beedham

When Long Winter returned to The Great Hall on Nov. 8, it came too with the suggestion that audiences would receive a different version of the monthly melting pot-facilitating evenings than they might have come to expect from it last year.

To wit, the one reliable feature Long Winter regulars have become familiar with is the dependable lack of predictability tied to each night of the season spanning (and extending) arts and culture community event, but the first night of this season came with a significant rebranding.

The cover of Long Winter's program for Nov. 8. Noticeably absent is mention of Fucked Up, the band slated as the presenters of last year's Long Winter events. Photo: Tom Beedham

The cover of Long Winter’s program for Nov. 8. Noticeably absent is mention of Fucked Up, the band slated as the presenters of last year’s Long Winter events. Photo: Tom Beedham

Ushered into fruition just one year ago by Mike Haliechuk and Josh Zucker of ever-enterprising Toronto punk outfit Fucked Up, the monthly night of music, art, food, film, poetry, photography, dance, speakers, and (eventually) video games began as something that would allow Haliechuk and Zucker to program a local event. Throwing each of the nights to impressively broadened masses as all-ages, pay-what-you-can affairs, Long Winter established itself as a beacon for fairly accessible multi-media entertainment programming (unfortunately the Great Hall is only accessible by stairs; there is no elevator service), and as the events snowballed in scope as well as popularity, its varied offerings came to tessellate more and more of the rooms and hallways that make up the building accordingly.

The events relied on the somewhat small community of connections their band had both established and immersed itself in, and Fucked Up headlined most of the five shows, appropriately cited on Long Winter programs, posters, and online event pages as the force that “presented” each of the series’ instalments.

But as it returned this year with the support of the City of Toronto through the Toronto Arts Council, although Haliechuk and Zucker continue to run the show, Fucked Up’s name was nowhere to be found.

Speculation could go on forever as to why the band’s pedigree has been removed from the ephemera surrounding the series, but in terms of the void they left to be filled by another headliner – this time a slot arguably shared by psychedelic Guelph rock veterans King Cobb Steelie in the main hall and siblinged Toronto/Montréal darkwave trio Doomsquad in the newly Long Winter-dominated Samuel J. Moore restaurant on The Great Hall’s ground level – it’s worth noting that the series’ website includes a statement from Haliechuk boasting a commitment to diverse programming and calling for outside submissions.

“Everyone is welcome, and everyone who attended last year should feel as much a part of this event as we do. We aim to be a reflection of all the great things that people do in Toronto,” Haliechuk says – emphasis on the “all,” no doubt. It would be no great surprise if Fucked Up’s reduced identity were implemented in favour of that virtue.

The first of a series of split seven-inch records Scion Sessions is giving Long Winter audiences for free upon entry to the monthly event this season. Photo: Tom Beedham

The first of a series of split seven-inch records Scion Sessions is giving Long Winter audiences for free upon entry to the monthly event this season. Photo: Tom Beedham

The first 350 patrons entering November 8’s Long Winter would have immediately noticed one other big change as they passed through the doors, each of them granted a free split seven-inch featuring Doomsquad and Lido Pimienta, whom also performed that night. Contributed by the Hand Drawn Dracula-courting Scion Sessions, the record was the first of a series of Long Winter artist-featuring splits slated to be offered to guests for each of this year’s instalments.

From there on, though, it was mostly business as usual for one of Toronto’s most immersive entertainment programming series: there was music, there was art, there was food, there was theatre, there was comedy, there were video games, and there was music. Did I say there was music?

If guests ventured further upstairs to the hall’s balcony level and coat check, they would have approached and become a part of Steve Reaume’s art/light installation projecting some truly debilitating algorithmic patterns into a corner, and once they’d recovered from the dizzying effects of that, there was William Andrew Finlay Stewart’s “Fall” – a looping video project – waiting for them on the ground.

If you skipped dinner to get there early or just wanted some late night munchies, the main hall hosted all-vegan food offerings from Windowshade Delicatessen, who’s reuben sandwich variant will certainly earn their west College street location a personal visit from myself and everyone else I successfully peddle it on.

At any given point throughout the night you could also fill your time by drawing on (and having your picture taken with) one of 1078 disposed coffee cups with “Disposable,” a consumption-considering interactive installation from Anrea Wrobel and Brian Cauley.

Wake Island's Philippe M at Long Winter in The Great Hall's main hall on Nov. 8. PhotoL Tom Beedham

Wake Island’s Philippe M at Long Winter in The Great Hall’s main hall on Nov. 8. PhotoL Tom Beedham

Things really got rolling with Wake Island, though. Opening up the multi-stationed concert portion of the night in the main hall, the Montreal rock foursome hammered things home with some expert delivery, cementing its set as something other performers should have worried about following with guitarist Nadim M’s final tooth-picked solo.

Nevertheless, performer Ben Kamino took the stage once they’d finished, instructing the main hall to slow-dance eyes shut in a herd, urging participants to touch each other – not just with their hands but with all parts of their bodies – and by extension, “everyone in the universe.” You can imagine how that went. It was awkward. Kamino repeated this experiment twice more following bands in the main hall.

 Esther Grey at Long Winter in The Great Hall's Conversation Room on Nov. 8. Photo: Tom Beedham

Esther Grey at Long Winter in The Great Hall’s Conversation Room on Nov. 8. Photo: Tom Beedham

Esther Grey. Long Winter. Tom Beedham. 1 Esther Grey. Long Winter. Tom Beedham. 2 Esther Grey. Long Winter. Tom Beedham. 3 Esther Grey. Long Winter. Tom Beedham. 4 Esther Grey. Long Winter. Tom Beedham. 5 Esther Grey. Long Winter. Tom Beedham. 6 Esther Grey. Long Winter. Tom Beedham. 7 Esther Grey. Long Winter. Tom Beedham. 8
Next was Guelph garage rock act Esther Grey, warming up the Conversation Room. Bringing sometimes-member and saxophonist Dan Paille in tow, guitarist Steph Yates and bassist Nathan Campagnero’s plodding progressions were juxtaposed with some extra texture that I didn’t get to hear when I last reviewed them for their Kazoo! Fest show back in April. Paille’s sax is presented pretty sparingly in comparison to the core group’s output, so it works with the group’s minimalist explorations of instrumental spacing.

From Ben Kamino and Matt Kelly's

From Ben Kamino and Matt Kelly’s “Conflict. Resolution. Conflict,” an absurdist Beckettian skit performed in front of the crowd dissipating after Esther Grey’s set in the Conversation Room at The Great Hall for Long Winter. Photo: Tom Beedham

Fixed with elongated cardboard masks, Ben Kamino and Matt Kelly ambushed the crowd remaining in the room at the end of Esther Grey’s set with a guerilla theatre performance called “Conflict. Resolution. Conflict.” Their characters mostly just argued over an onion, but eventually they made up with a sweet(?) embrace that saw them sharing bites out of the very real, very potent vegetable and then scuttled out of the room.

Recovering from Kamino and Kelly’s adventure in Beckettian theatre and wandering back into the main hall, Rheostatics founder Dave Bidini’s new group Bidiniband guided audience through a literary-minded tour of rock history, only playing four stream-of-conscience-y “long ones” to negotiate the restraints of their set time.

If you rushed from Bidini’s set to the conversation hall, you would have caught a very confrontational Abyss, whose frontman spent the majority of the group’s grindcore assaults sharing the mic with one listener’s face, whether he liked it or not.

Lido Pimienta performing in The Great Hall's main hall on Nov. 8 for Long Winter. Photo: Tom Beedham

Lido Pimienta performing in The Great Hall’s main hall on Nov. 8 for Long Winter. Photo: Tom Beedham

Next up in the main hall was Lido Pimienta, who should really get props for exacting some very hands-on parenting all while singing and dancing onstage.

“Single mothers in this city are gangster, y’all,” Pimienta said. She proved she wasn’t wrong with her highly danceable genre-benders.

Vish Khanna (right) interviews 2013 Polaris Music Prize nominee Zaki Ibrahim as Exclaim! Editor-in-Chief James Keast (left) sits in for additional perspective during 'Late Night with Vish Khanna,' a new talk show-style addition to Long Winter's  monthly programming. Photo: Tom Beedham

Vish Khanna (right) interviews 2013 Polaris Music Prize nominee Zaki Ibrahim as Exclaim! Editor-in-Chief James Keast (left) sits in for additional perspective during ‘Late Night with Vish Khanna,’ a new talk show addition to Long Winter’s monthly programming. Photo: Tom Beedham

Meanwhile in the basement, the last really big new thing for Long Winter was in full sway with former Long Winter MC Vish Khanna hosting his own late night talk show Long Night with Vish Khanna in the BLK BOX theatre. Complete with the house band stylings of The Bicycles and Light Fires’ Regina Thegentlelady wandering onstage to the show featured talk show style interviews with guests including musicians Lou Barlow (Dinosaur Jr., Sebadoh) and 2013 Polaris Music Prize-nominated Zaki Abraham, as well as author and The Grid Senior Editor Edward Keenan, and Exclaim! Editor-in-Chief James Keast. While I missed Barlow entirely and only just made it downstairs in time for the tail end of Keenan’s portion of the show discussing his new Toronto political history Some Great Idea and recent developments involving Mayor Rob Ford, I did get to sit through Zaki Ibrahim, who also offered insight on the mayor, but more interestingly, her take on Godspeed You! Black Emperor’s treatment of its Polaris prize win. (“I felt like I had egg on my face,” Ibrahim said, after commenting that GYBE’s treatment of the prize and the gala was “cool.” Ibrahim also related GYBE to the Grateful Dead, provoking some (not very successfully) suppressed laughter from Keast.)

Doomsquad performing in the Samuel J. Moore restaurant as part of Long Winter on Nov. 8. Photo: Tom Beedham

Doomsquad performing in the Samuel J. Moore restaurant as part of Long Winter on Nov. 8. Photo: Tom Beedham

Doomsquad. Long Winter. Tom Beedham. 1 Doomsquad. Long Winter. Tom Beedham. 2 Doomsquad. Long Winter. Tom Beedham. 3 Doomsquad. Long Winter. Tom Beedham. 4

Last for me were Doomsquad – giving the Samuel J. Moore restaurant its first Long Winter performance – playing their new age-evocative electronic music in some cavernous darkness (save for a salt lamp affixed to guitarist Trevor Blumas’ sampling table). The Blumas siblings challenged the physical resilience of the restaurant’s wall-to-wall window with crippling bass, offering only the soft textures of a pan flutes as a possible remedy.

From everything I was able to take in before calling it a night, The Great Hall seems properly primed for another season of Long Winter, even with the SJM restaurant added into the chaos (despite the potential for sonic disaster in the new venue, only some quickly resolved mixing issues that initially placed Trevor Blumas’ sampler way too low in the mix presented themselves over the course of the set). And from what I could make of the faces I saw on Friday, I think audiences are ready, too.