Tag Archives: Toronto

TURF war

Four-day music festival supports city as facility for live music

Toronto Urban Roots Festival (TURF) is attempting to act as harbinger for a new time in Toronto's history of live music. (Photo courtesy of TURF)

Toronto Urban Roots Festival (TURF) is attempting to act as harbinger for a new time in Toronto’s history of live music. (Photo courtesy of TURF)

That Toronto Urban Roots Fest is being marketed under the abbreviated “TURF” title is probably no coincidence.

The premiere of the multi-day outdoor music festival comes to the city July 4 through 7, and features headlining acts like Belle and Sebastian, She & Him, Neko Case, Joel Plaskett, and The Arkells. But beyond a concert event, in words that forgo exaggeration, TURF is a political battle cry championing the city’s place in North America’s music scene.

According to Jeff Cohen, the festival’s founder, TURF and multi-day festivals like it coming to the city mark a victory for the city’s music scene.

And Cohen should know. He was appointed Chair of the City of Toronto Music Advisory Council after consultee work he did with music lobbying organization Music Canada on a report comparing the music scene in Austin, Tex. to that of Toronto.

“Toronto City Council has some policies in place and some rules in the city books that are not conducive to people wanting to do outdoor summer events in downtown Toronto,” Cohen says he told Nikki Rowling, the author of the report, in 2012. “They have allowed the residents’ associations to rule the roost, and it’s time for politicians to rethink this and start having the business associations get in there with the residents’ associations and explain to the residents that one of the wonderful things about living in downtown Toronto is summer events.”

“Toronto is the third-largest music market in North America, yet it has very few outdoor concerts, and it does not have a multi-day festival. There’s something wrong there,” Cohen said. Before TURF, he saw a need for someone to step up and create a business environment that would allow private enterprise entrepreneurs to feel that they could back festivals without the anxiety that they would be entering money pits and logistical nightmares. TURF is his way of putting money where his mouth is.

But even with someone to act as harbinger for the festival scene in downtown Toronto, what if the residents’ associations still oppose the prospect of having more live music?

“Why don’t they move to Barrie or Dundas?” Cohen said over the phone on July 2, just as setup for festivities were getting underway to set up two stages at Fort York, the centre of TURF’s action. It’s tough love, but Cohen insists the tax base generated from the newly created jobs and ticket sales revenues, as well as the more simple appeal of easy access to live entertainment, are benefits reciprocated to area residents that outweigh things like noise complaints and other negative concert fallout.

In the same spirit, Cohen said that after some initial hesitation, Fort York saw hosting concerts as an opportunity to improve their revenues otherwise left dependent on the City of Toronto, as well as a promotional strategy that would bring approximately 15,000 people on site that had potentially never visited before, encouraging new repeat visitors in between concert dates. It also hosted Field Trip – the celebration of Toronto label Arts & Crafts’ 10-year anniversary – in June this year, and in August it will open its gates to a two-day presentation of touring punk festival Riot Fest.

The two stages at Fort York will allow for staggered performances and a seamless concert experience. Also on site will be local independent food vendors and a children’s area (access to the festival is free for children 10 and under).

After things wrap up at the fort, other TURF events will take place at Cohen’s bars, popular Toronto concert venues The Legendary Horseshoe Tavern and Lee’s Palace.

As TURF approaches and more outdoor venues and music events are finding their place in the city (Cohen is quick to namedrop Live Nation’s new Echo Beach venue and festivals such as Field Trip), Cohen’s attitude – although already passionate – is markedly more electrified speaking on the present state of music in the city, saying that the atmosphere of communication between the music industry and City Council has undergone “a total change,” something he credits to new councillors Gary Crawford, Josh Colle, who – informed by the report Cohen was involved with – travelled to Austin during South by Southwest this past March to propose a musical alliance with Austin Mayor Lee Leffingwell, as well as Mike Layton.

“Instead of finding reasons not to have outdoor shows at Fort York, they’re finding reasons financially and spiritually and emotionally why we need those shows.”

Meanwhile, Austin evinced its support of Toronto on June 27 when its city council passed a resolution to begin a “Music City Alliance” to encourage tourism and general, cross-cultural exchange between itself and the City of Toronto once the latter passes similar legislation.

Originally published by The Ontarion on July 4, 2013.

Fucked Up perform new song at NXNE (video)

Fucked Up performed new material at their NXNE performance at Toronto's Horseshoe Tavern on June 15.

Fucked Up performed new material at their NXNE performance at Toronto’s Horseshoe Tavern on June 15. (Photo: Tom Beedham)

Having just spent some time recording their follow-up to 2011’s David Comes To Life at Steve Albini’s Electrical Audio studio in Chicago, when Fucked Up returned to Toronto for a performance at the Legendary Horseshoe Tavern on June 15, 2013, they came bearing some new material and tested a new track on their hometown.

Although a little shaky due to the crowd love-in that is every good Fucked Up show and a little off audio-wise, here’s some video footage of the new track (title unknown).

NXNE review: Flag @ Opera House, June 14, 2013

Flag play classic Black Flag songs to Toronto fans

Former Black Flag members (reformed as Flag) performed the music of Flag at the Opera House on June 14 as part of North by Northeast.

Former Black Flag members and Descendents guitarist Stephen Egerton (reformed as Flag) performed the music of Black Flag at the Opera House on June 14 as part of North by Northeast. (Photo: Tom Beedham)

Keith and Chuck and Bill and Dez and Stephen. It took me a long time to get to calling this lineup Flag, and not the name of the members’ former band. I’m not alone either. When they played at Toronto’s Opera House on June 14, even opening act Genetic Control singer Mike Price had to correct himself after calling them Black Flag onstage.

By membership alone, Flag consists of double the original members the new Black Flag lineup boasts (Flag’s only member without previous Black Flag credentials is Descendents guitarist Stephen Egerton). But the cropped title makes sense. Some of the members have been away from the songs for over 30 years and even left before most of the group proper’s back catalog had life breathed into them, and Keith Morris has made it clear that Flag won’t be penning any new material.

It’s not a Black Flag cover band, per se, but it’s not Greg Ginn’s insistently progressive recording outfit, either. The latter is a position Greg Ginn is latching onto with the group with whom he’s presently touring around the world and recording a new album under the “official” Black Flag banner. It consists of early Black Flag vocalist Ron Reyes as well as drummer Gregory Moore – who played with Black Flag for some reunion performances in 2003 – and bassist Dave Klein of Screeching Weasel. They’ve already released some new material, which sort of sounds like what you’d get if Greg Ginn and the Royal We grabbed Ron Reyes – a great Black Flag short distance vocalist – to sing over some longer, sludgier, Family Man-esque instrumentals.

As an aspiring Black Flag completest who never got to see any of the band’s pre-breakup lineups live (I was born in 1988) and has a genuine love for the songs, I’d love to get the chance to see the Reyes-and-Ginn-steered band, but Flag’s performance at the Opera House had all the intensity of the classic Black Flag concert footage viewable in documentaries like Penelope Spheeris’s first installment of The Decline of Western Civilization and Paul Rachman’s American Hardcore – as well as the countless snippets of fan footage available online – without the pretension of Greg Ginn.

For the majority of the show, the members stuck to what they knew from their personal experiences with the band.

Whether or not they were intended as a jab at Ginn’s new band and his long-bemoaned history of failure to pay out royalties to where they have been due, the group kicked off the set with “Revenge,” with Keith Morris fronting the act (on that note, they didn’t play “You Bet We’ve Got Something Against You!” – perhaps just because it’s a Ron Reyes song).

Morris also sang “Police Story,” “I Don’t Care,” “Depression,” “No Values,” “Gimmie Gimmie Gimmie,” “Clocked In” and “White Minority” (songs Black Flag had recorded with the singer, originally intended for inclusion on their first release before he quit in 1979, resulting in the group re-recording most of them with Reyes for Jealous Again­ ­and eventually Henry Rollins for Damaged).

When one fan interrupted Morris with the bait that he should “Shut up and die” while the singer was in the middle of relating how “White Minority” has been historically misunderstood and how that’s brought flak to the members of the band in their private lives was also an easy reminder of so many Black Flag versus fans stage confrontations (it was also a moment that recalled Morris’s new band OFF!’s opening performance at a 2012 Refused reunion concert at the Sound Academy, where Morris’s mid-set ramblings on the comparisons of the United States and Canadian governments were greeted with some impatient rejection).

The singer also performed lead vocals on all of the tracks off of the Nervous Breakdown EP, as well as the inadmissible “My War” and “Rise Above” – Damaged-era anthems famously sung by Rollins.

For the latter half of the set, Dez Cadena put down his guitar to take over the mic for the Six Pack EP’s title track and “American Waste,” as well as Damaged tracks “Padded Cell,” “Spray Paint,” and “Thirsty And Miserable” – all for which Cadena once recorded a nearly complete version of vocals before the group acquired Rollins as a lead vocalist and re-recorded them.

This all happened in front of fans young and old yelling the words and manifesting the physicality of the music in always-active mosh pit.

After taking a brief break between their set and an encore, the group returned to thank everyone for showing their support. Morris delivered a fittingly slotted Rollins-era “I Love You,” Cadena sang “Damaged,” and the show was over.

If you missed the show or just want to relive the celebration, one fan managed to record the entire set and publish it on YouTube. Check it out before Greg Ginn escalates his Greg Ginn-ness and actively tries to deny credit being offered to the unofficial Black Flag-ers.

(Full setlist compiled below video) 

Setlist
“Revenge”
“Fix Me”
“Police Story”
“I Don’t Care”
“Depression”
“I’ve Had It”
“No Values”
“My War”
“No More”
“Gimmie Gimmie Gimmie”
“White Minority”
“Jealous Again”
“Wasted”
“Clocked In”
“Nervous Breakdown”
“American Waste” (Dez Vox)
“Spray Paint”
“Thirsty And Miserable”
“Padded Cell”
“Six Pack”
“Rise Above” (Keith)
“Loiuie Louie”
Encore
“I Love You”
“Damaged”