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Concert Review: Mammoth, March 8, Danforth Music Hall

Posted on
9 Mar 2026
by
Paul

Partway through their Sunday night show at the Danforth Music Hall, Mammoth frontman Wolfgang Van Halen did an informal poll of the crowd, asking how many had seen them before and how many were first-timers. Surprisingly, the number of cheers ended up being split pretty much evenly down the middle.

“That’s crazy, that’s like, 50-50. Thanks for sacrificing your Sunday night for us,” said Van Halen. He added that even for those who had previously seen them, things would be a little different this time around. One major change, he noted, was that they now had a screen. Van Halen described the added visual element as being akin to cramming an arena show into a theatre, and went on to point out that all of the animations we’d be seeing that evening were made by actual artists, not AI.

“Everything you’re seeing tonight is made by a real human being and not that generative AI bullshit,” he said, adding, “That shit sucks,” and opining that it isn’t necessary. He stopped himself from going too far by reminding himself that this was a concert and not a TED Talk, though I appreciated him standing up for art made by actual people.

It’s hardly surprising though that someone like Van Halen, who’s dedicated much of his life to honing his craft as a musician, would side with artists over artificial intelligence. He would continue on with his old school, semi-Luddite stage banter later in the set when introducing the song “Resolve.”

Noting that they haven’t played the song since their first tour back in 2021 (“We were so young then”). he explained that they added it back into the set after lots of online demand from people wanting to hear it live. And though he belittled social media by referring to it as “garbage,” it’s clear that one beneficial effect of all this technology is that it enables a much more direct connection between bands and fans.

The theme of human connection continued with the next song, “Distance,” a tribute to Van Halen’s famous father Eddie. With the imagery on screen switching over from computer animation to home video footage of father and son together over the years, the song’s themes of connection to those we’ve lost and how they stay with us long after they’re gone were made explicit.

The link between father and son was also obvious while watching Van Halen and his bandmates show off their musical prowess, with tunes like “One of a Kind”, “Another Celebration at the End of the World” and the title track off their latest, The End, standing out as highlights. While Mammoth is clearly it’s own thing and inspired at least as much by ’90s/2000s alt-rock and metal as it is by the type of classic rock his father made, one obvious connection to Wolfgang’s heritage was made clear – he clearly must have picked up a thing or two from his father. Dude can shred, that’s for sure.

SXSW Song of the Day: Cashier – Part From Me

Posted on
2 Mar 2026
by
Paul

Photo Credit: Olivia Perillo

While there are many ways in which this year’s SXSW will be different from prior editions, it’s nice to see that there’s one thing that definitely hasn’t changed – bands will still be trying to squeeze as many shows as possible into their time in Austin. One such band is Lafayette four-piece Cashier, who’ll be be playing more than a dozen shows over the course of six days, including three official showcases, in promotion of their debut EP The Weight.

Check out the video for Cashier’s “Part From Me” below, and if you happen to be at SouthBy, check them out at one of their many shows (also listed below).

Fri, March 13 – Julia’s War Showcase @ The Ballroom (1:45 PM)
Fri, March 13 – Planetary Group (Official) @ Valhalla (9:30 PM)
Sat, March 14 – Winspear x Vertigo Vinyl Day Party @ Cheer Up Charlies (1:30 PM)
Sat, March 14 – Tweedy’s Block Party @ Tweedy’s (3:45 PM)
Sat, March 14 – Good English Showcase @ Chess Club (11:00 PM)
Sun, March 15 – Benefit Show @ Hole in the Wall (2:15 PM)
Sun, March 15 – Grillo’s Pickles @ Hotel Vegas (6:15 PM)
Mon, March 16 – Digital Twang Night @ Las Perlas / Seven Grand (10:50 PM)
Tue, March 17 – Tour Peachy Showcase @ Brushy Street Commons (2:30 PM)
Tue, March 17 – Vulgar Records @ Friendly Rio Market (6:00 PM)
Tue, March 17 – Smartpunk House @ Hotel Vegas (9:15 PM)
Wed, March 18 – Tito’s Showcase @ Love, Tito’s (5:15 PM)
Wed, March 18 – Julia’s War Showcase @ Alienated (10:10 PM)

Concert Review: Meels, Margo Price, February 25, The Phoenix Concert Theatre

Posted on
28 Feb 2026
by
Paul

I’d like to take a moment to sing the praises of the opening act.

You know, the ones you often don’t make it out in time to see … or possibly the ones you purposely skip because you might need a little more “me time” before the show. The ones you’ve never heard of before, so you figure it’s no big deal if you show up a little later.

Whatever the case, openers often find themselves playing to a much smaller crowd than the headlining act. But for those who manage to get to the venue on time for the opener, you might just be pleasantly surprised. Such was the case this past Wednesday when Meels took to the stage at The Phoenix, opening for Margo Price.

“I’m so happy to be opening for Miss Margo Price on my first international show. Starting it off in Canada, baby!” said Meels (aka Amelia Einhorn) early on in her set, and though the crowd was perhaps a little sparse at the outset, her enthusiasm and charm as a performer had the audience on her side from the get-go.

Promoting her latest album, Across The Raccoon Strait, Meels and guitarist Jackson Craig played an even mix of songs off the new album, older tunes, and a few covers of some of her favourites – John Prine’s “Angel From Montogomery,” The Beatles’ “Don’t Let Me Down” and a version of Dolly Parton’s “Do I Ever Cross Your Mind,” which saw Meels switching to banjo. She would stick with the banjo for the following tune, “The Wizard,” which I believe she said was the first song she ever wrote on the instrument. These covers were not only a nice nod to some of her influences (later at the merch table, I noticed her wearing a Prine-referencing button that read, “Your Flag Decal Won’t Get You Into Heaven Anymore) but also, as she admitted, a bit of a ploy to get the audience singing along.

Meels would later return to the stage, banjo in hand, to join Margo Price and her band for a rousing rendition of Bob Dylan’s “Maggie’s Farm” to close out Price’s set. Having seen Price in concert before. I went in expecting a fantastic show and she did not disappoint. Newer tracks like “Don’t Wake Me Up” and “Don’t Let The Bastards Get You Down” sounded great, as did older tracks like “Hurtin’ (on the Bottle). And her cover of Blaze Foley’s “Oval Room” (written about Ronald Reagan, but in Price’s hands, clearly directed at the current U.S. president) stood out as a highlight of the evening. We were even treated to a singalong of “Happy Birthday” in honour of guitarist Logan Ledger’s birthday – cake included.

So yes, Margo Price put on a solid performance, as expected. Meels, on the other hand, offered up the joy of unexpected discovery. And a reminder that if you get the chance, it might be a good idea to show up early for the opener.

SXSW Song of the Day: Sorry Youth – Undercurrent

Posted on
28 Feb 2026
by
Paul

For several years now, Taiwan Beats has been showcasing Taiwanese artists at SXSW and they’re back again for the 2026 edition. This year’s showcase will take place on March 13 at Venue 6 (The Venue ATX) with a lineup featuring someshiit, Our Shame, Modern Cinema Master, Flesh Juicer, Pei-Yu Hung, and Taipei alt rock power trio Sorry Youth.

The band cite the likes of The Cure, Sonic Youth, Yo La Tengo, Mogwai, The National, and Wilco as influences and you can definitely hear some of those sonic touchstones in their song “Undercurrent.” Check out the video for “Undercurrent” below.

SXSW Song of the Day: Bershy – Radio

Posted on
27 Feb 2026
by
Paul

We’re now just a little under two weeks out from the start of SXSW and with one more big lineup drop due next week, there’s still more names to be added to the music fest component. In the meantime, let’s turn our attention to one of the more recently announced names – LA-based indie-pop artist Bershy, who made a bit of a name for herself recently when her song “Radio” took off after being featured in Episode 6 of the hit game Dispatch.

Now, because I am old and out of touch and have no idea what Dispatch is – let alone that there’s such a thing as episodic games – this means almost nothing to me. That said, I still recognize that “Radio” is a top notch tune and I give Bershy her props for getting some recognition three years after the song’s initial release. Check out the video for “Radio” below.

Bershy plays Swan Dive on March 12 @ 7:15pm.

Concert Review: Big Sugar, Wide Mouth Mason, February 20, Danforth Music Hall

Posted on
21 Feb 2026
by
Paul

An interesting thing happened just as Big Sugar were starting off their set on Friday at the Danforth Music Hall: the couple next to me got up and left. Not to worry, though – they came back just a couple of minutes later, at which point it all made sense. They had gone to the bar to get some drinks. Fair enough. Gotta get stocked up on supplies before you settle in to watch the show, after all. 

Speaking of alcoholic beverages, earlier that evening, while riding the subway, I spotted a long-haired, moustachioed dude wearing a trucker hat which read, “Daddy Needs a Beer,” and got a bit excited when I thought he was actually drinking a beer. Turns out it was just a cider. Fucking poser. But I digress. Back to Big Sugar.

Taking to the stage to the strains of the Get Smart theme song, the Toronto blues-rockers kicked things off with frontman Gordie Johnson shouting out a greeting to “Toronto and surrounding cities” before launching into “Diggin’ a Hole,” the lead track off 1996’s Hemi-Vision. They would go on to play Hemi-Vision in its entirety in honour of the album’s 30th anniversary, including tracks that Johnson admitted they never played back in the day.

What I’d almost forgotten about Big Sugar was just how deeply dub reggae runs through the band’s DNA. But that came rushing back on Friday night as they delved into a few dubby passages during their set. Those sweet, echo-drenched breakdowns and rubbery bass lines gave the set a laid-back, hypnotic pulse as the band switched back and forth effortlessly between the dubby and the heavy, a reminder that Big Sugar were never just a straight-ahead blues-rock band.

And though the current version of Big Sugar is not the same lineup that recorded Hemi-Vision back in the ’90s (Johnson is the sole remaining member from that era), they absolutely did it justice, with the heavy riffage of deeper cuts like “La Stralla” and “Empty Head” standing out as surprising highlights. Armed with his trademark double-necked guitar for much of the set, Johnson sounded great and he and his bandmates seemed to really be enjoying themselves as they dipped into their back catalogue.

It wasn’t all about Hemi-Vison though, with the band making sure to play hits like “Better Get Used to It” and “Turn the Lights On” as well. For the later number, they were joined during the encore by openers Wide Mouth Mason, as well as Friendlyness of local roots reggae outfit The Human Rights. During that song, both Johnson and Friendlyness gave a shout-out to late Big Sugar bassist Gary Lowe, paying tribute to a man who played an important role in the band’s history.

Speaking of history, Wide Mouth Mason gave the crowd a bit of a history lesson during their opening set. At one point, the band shared a story about being the “opening, opening, opening” act for Big Sugar back in 1996 in Saskatoon – a gig that ultimately led to them touring together in those early years. As they wrapped up their set, they told the crowd, “We’re gonna leave you with the first song off our first record, which was also a Big Shiny tune,” a nod to their appearance on those MuchMusic Big Shiny Tunes compilations that seemed so ubiquitous back in the day.

And though I don’t recall Big Sugar ever making an appearance on Big Shiny Tunes, the band proved on Friday night that three decades on, Hemi-Vision sounds pretty big and shiny in its own right.

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