05/11/09: Massey Hall: Toronto, ON

[Torontonian]

Amen to that. Wanna complain about people smoking then you are at the wrong place. That is unbelievable some people get all up tight about it. I agree if that said person(s) is too hammered or stoned and making ruckus than that is totally understandable but I mean cmon its a rock show. How can you not goto a concert and expect many (thats right, many) people to not lit up a butt or a joint? I mean holy cow get a life. Too many of you worry about the people around you and can make any comment you want, rather than enjoying the show and thinking for yourselves. Like the AC/DC concert this past January some people behind me and my friends were mad because we were standing in front of them. Like really get a life we stood the whole time and rather than them enjoying theirselves, us standing in front of them was all they worried about the entire two hours and people like that (or the pot complainers) ruin it for themselves. If you don't like it, call Massey Hall management or quit going to concerts all together the world doesn't revolve around people like them, it passes them by instead.

Amen to that! If you don't enjoy your life, don't take it out on others who do!

[BakersBrew]

I see it both ways. Personally, I was one of those drunken pot head loving hip fans for many years, and now prefer the more casual concert with less of that around. I went to Springsteen last week and really enjoyed the crowd because they were pretty tame in comparison to the "Hip" crowd. But, it is rock and roll. I would rather people smoking pot around me than drinking excessively. That's when the trouble seems to begin. Maybe some of us old farts are getting a taste of our own medicine from back in the day?

[hip]

It seemed like the Ushers on the floor were on a mission to nail the pot smokers, don't know if they suceeded but be careful, cause I bet you just get booted and that's that!

[EPenguin10]

I didn't see the G&M review posted, here it is:

http://www.theglobeandmail.com/servlet/ ... nment/home

BRAD WHEELER

From Wednesday's Globe and Mail

May 12, 2009 at 3:15 PM EDT

The Tragically Hip

At Massey Hall
in Toronto on Monday
At the big house on Shuter Street, in front of his fever-pitched followers, Gord Downie laid his rock 'n' roll burden down. Over the years, the Tragically Hip front man had fallen into a role on stage, where he'd work himself up into some sort of weird fury, move about in a peculiarly spasmodic manner, and deliver a forced, spontaneous rant. New Orleans was sinking, he didn't want to swim, but it was the deep end every night for this guy, the puzzling maple-blooded everyman.

"We're going to ask a question of you," is what he told his audience, right off the bat. In fact, there were a couple of questions asked in The Depression Suite, the three-song acoustic medley that opened the band's six-show stay. "What if this song does nothing?," was self-posed, you'd have to think. But then, "Don't you wanna see how it ends?", a question for the iconic band's long-loving fans and maybe the critics too. There's a suspicion that the Hip's best work is well behind them, that We Are the Same, the Kingston-bred quintet's 11th studio album from this year, is not one of its finest. The record was produced by Bob Rock, the heavy-handed crafter who also oversaw 2006's World Container. Rock, who is not the darling of music writers, lavished and polished the Hip's muscled two-guitar attack with silky touches. Fans wait for pensive ballads and gigantic, grimacing, riff-based blues rock from the Hip. They like the front man to be lathered and wound-up.

At Massey, though, Downie was a new man. His dark outfit was buttoned-up, but otherwise he was loose, dabbing himself with a white handkerchief and walking about. If you turned off the sound during Don't You Want to Know How It Ends?, Downie would have appeared as if delivering a dramatic monologue, with devil-may-care aplomb. When not singing, he danced with a casual, charismatic grace. Later, on the power blues of Blow at High Dough, he did some kind of Elvis thing. Downie was easily captivating and not playing up to expectations, is what I mean to say.

During the war-inspired Courage, he waved his hankie — he had a box of them; no sooner would he give one to a fan when a roadie would toss him another — but it was no white flag of surrender. The rugged Poets was heavier than it used to be, though it carried its weight very well.

Downie, who is a published poet, might agree that a nation needs to be judged by the fatness of its writers.

The fist-pumping classics (the brooding Fully Completely and such) were done, but there was no sense that the show was about the past. After an intermission, a second set began with a new sit-down segment, where an unplugged Greasy Jungle was recast as a spry, amber-lit sing-along.

The band's recent albums have received friendly reviews, but posterity will know better, and see their weaknesses.

Still, you should never wish to see a greatest-hits concert from the Tragically Hip. (Downie would chew off his leg to escape that trap.) These long-haulers defiantly work in the now, and we need to keep with them and see how it turns out in the end.

The Tragically Hip continue at Toronto's Massey Hall Thursday, Friday, Saturday and May 19, with national dates to follow.

[thecompletist]

Finally got one of my camera videos posted. Here you go - Fully Completely

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[The Heron Outside]

"as the band mixed old favourites like The Struggle Has a Name"

Right on Lady - that old favorite from the album which came out a month ago

Oh and the 4 song encore containing 2 songs - she must have hit the bong hard before they came back out - or they played an additional 2 to her after everyone else left.

and finally
"The Tragically Hip played like they were performing purely for the love of it. And who knows, maybe at this point, they are."
That would be due to the obligation they have had to play up until now, not that they actually have been wanting to do it for the past 20 years.

If you are going to bother to send someone to review the show - at least send someone who can
1. Count
2. Is aware of what the f$%k they are there for
3. Isn't trying to catch up on the history of the band between the end of the show and the deadline for submission

idiot

As someone who's reviewed gigs for major papers, I feel the need to stick up for this reviewer a bit. What's important to realize (But it so often falls on deaf ears) is that reviewers are sent to review the gig for the general public, not for Hipheads. I agree that maybe she should have tried counting the encore numbers, but as far as the other issues you have, you gotta realize that she was probably asked the morning of the gig to go. This rarely allows for comprehensive research. Reviews of this nature often come off sounding a bit pendantic, and that's unfortunate, sure, but again, she's not writing for fans like you and me. And that statement, by playing tunes that they might have shunned away from in the past (Bear, Toronto #4) these might be faves of the band but they couldn't play because they knew the majority of fans wouldn't get it.

Bummer she thought Struggle was an old favourite, but nothing more than the simple mistakes we all make at our jobs everyday. You know those points in the gig, between songs when we take sips from our over-priced beers, high-five our friends or smile just because we're happy to be there? Yeah, during those moments, these reporters are furiously typing away on tiny little devices amidst a crazy crowd. Cut them some slack.

[Tthip]

http://www.exclaim.ca/musicreviews/late ... fid1=38485

The Tragically Hip
Massey Hall, Toronto ON May 11
By Vish Khanna

Though he proved to be ever the showman, Gordon Downie promised nothing extraordinary as he proudly led the Tragically Hip onstage for the first (time ever) of six nights between the hallowed walls of Massey Hall. “We’re gonna play some old songs, some new songs, and some songs that we know,” he exclaimed to an adoring audience, mapping out the night ahead.

The Hip are paradoxically one of the most popular and underrated live bands in Canada and they fight with the relaxed calm of resigned underdogs, letting their heavyweight Downie take some of the blows and garner most of the glory. With truly nothing left to prove, however, the band did their best to entertain the assembled “music lovers,” as Downie repeatedly called us by the end of he night, like an ordained high chief bestowing an honour we might otherwise take for granted. The trick here though is that, aside from being unfamiliar, the Hip’s latest album We Are the Same stews with the intensity of a pressure cooker; or more bluntly, it takes a while to get going. The sag of the record lifted slightly live but it’s no surprise that the boisterous crowd rose for every old favourite and hit some ancient upholstery during fresher fare.

Opening with “The Depression Suite,” the Hip set the tone; this was going to be something of a CD release show. The room’s first burst of recognition came with one of the band’s best singles, “In View,” auxiliary guest Jim Bryson pumping out the keyboard riff with reserved cool. “Poets” fit well with “Morning Moon” but “Now the Struggle Has a Name” burst the taut bubble Downie’s odd bungling of “Cinnamon Girl” into a raucous “Fully Completely” had recklessly created.

A powerful “Love is a First” preceded an intermission (they’re theatre shows after all), which in turn brought on a memorable acoustic set (“Toronto #4,” “Fiddler’s Green,” and a mesmerizing “Greasy Jungle”) dedicated to mothers. In between lagging shots at “The Last Recluse” and the questionable “Coffee Girl,” fans were treated to dynamic versions of “Twist My Arm,” “Bobcaygeon” (featuring a lovely organ solo by Bryson), and the Guelph, ON-dedicated “Speed River.”

Throughout the evening, Downie made great use of small, white towels, as sweat-soppers and primitive yet effective stage props; he feigned surrender, conjured ghosts, and played Pelé with himself. As grown men and women hollered and squealed at his theatrics, Gordon Downie carried another night, becoming that much stronger, sensitive, agile, and brutish. “Good night music lovers,” he intoned, “See you tomorrow night.” And at this point, with great songs or even merely average ones, he likely always will.

Set list:

Set #1:
"The Depression Suite"
"In View"
"Courage"
"Pigeon Camera"
"Poets"
"Morning Moon"
"It Can’t Be Nashville Every Night"
"Cinnamon Girl Intro/Fully Completely"
"Now the Struggle Has a Name"
"Yer Not the Ocean"
"Love is a First"

(Intermission)

Set #2:
"Toronto #4" (acoustic)
"Fiddler’s Green" (acoustic)
"Greasy Jungle" (acoustic)
"The Last Recluse"
"Twist My Arm"
"At the Hundredth Meridian"
"Coffee Girl"
"Ahead by a Century"
"Speed River"
"Bobcaygeon"
"Tiger the Lion"
"Blow at High Dough"

Encore:
"Frozen in my Tracks"
"Locked in the Trunk of a Car"

[chris]

Though he proved to be ever the showman, Gordon Downie promised nothing extraordinary as he proudly led the Tragically Hip onstage for the first (time ever) of six nights between the hallowed walls of Massey Hall. “We’re gonna play some old songs, some new songs, and some songs that we know,” he exclaimed to an adoring audience, mapping out the night ahead.

I understand what Josh is defending, but a little fact checking goes a long way. If you're going to make statement, make sure it's true.

Reviews of the show - personal thoughts, etc - are one thing; but both of the last two posted reviews have factual errors. No excuses. I don't care if the reviewer was just assigned this task, that's no reason to be sloppy in your work.

[The Heron Outside]

Though he proved to be ever the showman, Gordon Downie promised nothing extraordinary as he proudly led the Tragically Hip onstage for the first (time ever) of six nights between the hallowed walls of Massey Hall. “We’re gonna play some old songs, some new songs, and some songs that we know,” he exclaimed to an adoring audience, mapping out the night ahead.

I understand what Josh is defending, but a little fact checking goes a long way. If you're going to make statement, make sure it's true.

Reviews of the show - personal thoughts, etc - are one thing; but both of the last two posted reviews have factual errors. No excuses. I don't care if the reviewer was just assigned this task, that's no reason to be sloppy in your work.

Fair play. I've met Vish before, he's a sound guy and cares a lot about good music. (And he's a big fan of Das Hips) Anyway, I'm quite sure he was referring to these gigs being their first six night stand at the Hall, not assuming that this was the first time they've ever played Massey.

[NegPhil]

The Tragically Hip at Massey Hall, May 11

The Kingston CanRock heroes promised a career retrospective from the outset of their five-night Massey Hall stand, and they did not fail to deliver.

www.eyeweekly.com
By Helen Spitzer
May 12, 2009 13:05

“Is this a grand old barn or what?” asks Gord Downie near the end of the Tragically Hip’s first set of their first night at Massey Hall, a terrific grin spread from ear to ear. He dabs at his glistening head and then, with a flick of his ever-present hankie, does a half-pirouette off the floor monitor, bows his head and barks the opening lines to “It Can’t Be Nashville Every Night.”

Choreography aside (and that might be worthy of review in itself), Downie cuts a terrific figure, working his struts and pirouettes, theatrical hanky-twirling, and serious booty swinging in a jacket and pinstripes that Russell Smith would applaud. And lest you think talking about his dancing is beside the point, Downie has made pointed comments in the weeks since the release of We Are The Same that he takes his dancing as seriously as his singing, thank you very much. And how brilliant is it — as he works this foppish, yet wholly masculine, fancy-dancing silhouette — that with every snap of his hanky all the young dudes of Massey Hall are ever more in his thrall?

If the crowd is bristling with first-night anticipation, the band more than matches their eagerness as they launch into the first song, an electrifying rendition of We Are the Same's three-part “Depression Suite.” It’s a daring move that pays off handsomely: from the first note the harmonies are chillingly perfect, even surpassing those on the album, and the guitar work so efficient and nimble it fills the room without overpowering the song. It’s here that Downie makes clear what kind of a man he’s gonna be for us this evening; he takes a great stride forward, unbuttons his blazer and gestures to the balcony in one graceful move and growls, “gimme gimme.”

As an opener it’s so note-perfect that it actually takes some time to get back up to that level again. But they do, after a quick career-survey that includes World Container’s “In View” and Fully Completely’s “Pigeon Camera.” It’s on the bona-fide hip shaker “Poets” that things do go absolutely mental and Downie almost wiggles his ass right off, interspersing this with a strangely balletic pas de deux with his inverted mic stand. He gets so carried away he actually gives the mic stand away to the audience in two pieces, and has to sheepishly retrieve it, dabbing sweat from the heads of those in the front row for their troubles.

At times Downie switches up lyrics for his own amusement, simultaneously singing and listening, analysing, occasionally shaking his head or grimacing, ever self-conscious, ever the poet and circus performer. He mimics an ape, scampering across the stage dragging his arms; he polishes the air in front of him like an invisible glass wall.

The band has promised a career retrospective from the outset, and does not fail to deliver. The two sets span oldies like “Twist My Arm,” “At the Hundredth Meridian,” a pumping version of “Blow at High Dough” and mid-period gems like “Ahead by a Century” and “Bobcaygeon,” the latter made even sweeter by a shimmering organ solo from gun-for-hire Jim Bryson. At least half of the new album is interwoven through this retrospective, highlighting just how diverse and consistently excellent the latest collection of songs is.

And aside from a little vocal fatigue on “Now The Struggle Has a Name” (dedicated to the Pope), it all measures up impressively against their career best. Muscular versions of rockers like “Speed River” find new bombast in their live incarnations, and their finest and most delicate of their new songs, “The Last Recluse,” transitions well to a music-hall setting with the help of the man-chorus of Bryson, Gord Sinclair and Paul Langlois.

In fact, all of the new album translates surprisingly well to mid-sized arena rock, but at this point the band could risk even greater dynamic range or richer instrumentation, especially in theatre venues such as Massey. It’s a tiny criticism, because after a decade of some hits and some misses, this tour — and this album — shows the Hip gracefully taking their rightful throne, and with not a shred of complacency. This is a band who really, really like doing what they’re doing, have survived the difficult middle years where they could have become caricatures of themselves, and can still surprise. They could so easily rest on their accomplishments; instead they do the difficult thing and take on something new.

What comes across tonight is a genuine sense of gratitude, channeled through Downie (whose goodbye thank-yous stretch for minutes at a time), so appreciative to take up a week’s residence in this grand old hall. It’s an honour you know they don’t take lightly. And if anyone asks you what the poets are doing, you can tell them they’re working on their dance moves.

Email us at: [email protected] or send your questions to EYEWEEKLY.COM
625 Church St, 6th Floor, Toronto M4Y 2G1

[sherpa]

This show is missing from the HIp Live Archive on their website

[inaworldcontainer]

It is there , now.

My second great HIP show. My first for 2009 was at the Music Hall.