Skip to content
  • Home
  • About Us
    • Derek
    • Gary
    • Halley/Celeste
    • Paul
    • Ricky
    • Vik
  • Concerts
  • Reviews
    • Albums
    • Venue
    • Movies
    • Year End Reviews
  • Festivals
    • Canadian Music Week
    • Hot Docs
    • North By Northeast
    • Planet in Focus
    • Primavera
    • South By Southwest
  • Contact Us
Menu
  • Home
  • About Us
    • Derek
    • Gary
    • Halley/Celeste
    • Paul
    • Ricky
    • Vik
  • Concerts
  • Reviews
    • Albums
    • Venue
    • Movies
    • Year End Reviews
  • Festivals
    • Canadian Music Week
    • Hot Docs
    • North By Northeast
    • Planet in Focus
    • Primavera
    • South By Southwest
  • Contact Us

TIFF Review: Turtle Island Rap (Alexandra Lazarowich, 2026)

Posted on
15 Sep 2026
by
Paul

“I wanna be in the game, man. I wanna make something people know, even if for a month.”

Those words, courtesy of Navajo rapper Travis Thompson, are the first we hear in Turtle Island Rap, Alexandra Lazarowich’s compelling portrait of three up-and-coming Indigenous rappers, and they help set the tone right off the bat. Also featured are Toronto-based Anishnabek rapper Wiidaaseh and Arizona’s A$h Da Hunter, who make similar statements, with A$h saying she can’t see herself doing anything other than music with her life. At its core, this is a film about people following their dreams because they feel compelled to do so. They’re all in the rap game for the love of the music.

While A$h Da Hunter notes at one point that she doesn’t want to be known simply as “a Native rapper,” it’s undeniable that the community, culture and heritage of each artist factors into their work somehow. Thompson makes that clear in one scene where he tells the crowd at one of his shows, “This shit was not made for us, but we gonna take up space.” Ultimately, Turtle Island Rap is a celebration of Indigenous artists working to carve out space for themselves while staying true to the music they love.

Concert Review: The Callous Daoboys, September 13, East End United

Posted on
14 Sep 2026
by
Paul

“Toronto, y’all are crazy.”

So said Callous Daoboys frontman Carson Pace to the fairly hyped up crowd on Sunday night at East End United and I have to say – fair assessment. The energy at this show was indeed pretty crazy and also a little infectious. Now, I am old and tired, so I was most definitely not mixing it up in the pit with all the roundhouse kickers and cartwheelers, but I appreciate the enthusiasm.

I also appreciate a good spoonerism, so any band that gives themselves a ridiculous (but admittedly kind of clever) name like The Callous Daoboys is alright in my books. And if you will allow me one quick digression, I’d like to point out that I saw a poster on the TTC on my way to the show promoting their new fare capping policy and, naturally my oddly wired brain, uniquely attuned to looking for spoonerisms after years of training, couldn’t help but think: “Care fapping.” And now you’re thinking it too. You’re welcome. Now back to our regularly scheduled review. 

Musically, The Callous Daoboys are all over the place, with some jazzy, almost George Benson-esque guitar licks slipping in from time to time and breakbeats and other samples floating in between tracks, though “heavy” is always the default. While the band uses brutal metalcore as the template, their genre-hopping, chaotic, everything-and-also-the-kitchen-sink vibe is what makes them worth listening to. And live, the band was definitely feeding off the crowd’s energy and putting on an impressive performance.

Touring behind their latest, 2025’s I Don’t Want to See You in Heaven, the Atlanta mathcore six-piece came on strong, starting things off with recently released single “Gigantic Parasite Tongue.” Their set focused largely on the new album and really highlighted the band’s eclectic and adventurous sound. When asked in a recent interview to describe their sound to someone who hadn’t heard them before, guitarist Dan Hodson described it thusly: “It sounds like having fun.” Again, fair assessment. The band definitely looked like they were having fun up on that stage and band members could even be spotted stage side earlier in the evening taking in each of the opening acts and absolutely enjoying themselves. So yeah, I’d say they’re having fun.

Concert Review: Jon Spencer, Retail Simps, September 10, The Great Hall

Posted on
12 Sep 2026
by
Paul

Towards the end of his Thursday night set at The Great Hall, Jon Spencer shifted tone slightly, moving from his usual rock ‘n’ roll wildman persona to something approaching a preacher giving a sermon. Noting that where he comes from – the United States of America – things are “fucked up” right now, Spencer spoke passionately about the importance of simply being a good person.

“It’s up to all of us to do what’s right. We got to take care of each other. I said we got to get together!”

It’s hard to argue with that. It’s also hard to deny the power of a Jon Spencer live show. After decades in the game, Spencer’s particular brand of blues-inflected garage rock still hits as hard as ever. He’s definitely got the goods live, but his backing band is equally impressive to watch. Touring behind his latest, the recently released Songs of Personal Loss and Protest, Spencer and his bandmates Kendall Wind and Spider Bowman (both of whom also play in The Bobby Lees) put on a powerhouse performance. Drummer Bowman especially stood out, not just for his skills behind the kit, but also for the moment during one song when he had a break and just got up to punch the wall for a few seconds before returning to his kit without missing a beat. Literally.

And while Spencer spoke of togetherness during his set, openers Retail Simps provided a real-time example of a band trying to keep it together when everything seems to be falling apart – and largely succeeding.

Things started to go awry after the first song, when singer/guitarist Joe Chamandy broke a string, forcing them to skip the next planned song, as it would be a bit difficult to play without the missing string. “We’re really good when we have all our strings,” he quipped.

Just a few songs later, the bassist also broke a string, causing the drummer to point at the second guitarist, joking that he was next. Luckily, all of his strings stayed intact, but they did have to adjust their setlist a bit, leaving out several of the newer songs they had planned on playing. Despite these setbacks, Retail Simps soldiered on, delivering a set that veered towards the loose and shambolic, but was ultimately still a lot of fun. It was far from perfect, but then rock ‘n’ roll rarely is.

Song of the Day: Party Dozen – Euro Stomper

Posted on
11 Sep 2026
by
Paul

“Euro Stomper” is the latest single from Australian duo Party Dozen, taken off their forthcoming album 21 Bum Salute, out Nov 6th via GRUPO/ City Slang. And it is indeed a stomper. Check it out.

Song of the Day: Mad Iris – Silver Nails

Posted on
10 Sep 2026
by
Paul

“Silver Nails” is the latest single from Toronto’s Mad Iris, taken off their self-titled debut album. Check it out.

Concert Review: Packaging, September 9, Sound Garage

Posted on
10 Sep 2026
by
Paul

On Wednesday night, Seattle indie/psych rockers Packaging made their Toronto debut, delivering a solid, immersive set to a small but attentive crowd.

“Thanks for coming out on a Wednesday night,” singer and guitarist Daniel Lyon told the room at one point. “Appreciate it.”

“Appreciate you!” a fan called back.

“Hell yeah, love the mutual appreciation,” Lyon replied.

Touring behind their debut self-titled album, Packaging sounded great. While the band is tight, there was also a looseness to the performance that suited the material, allowing the songs to breathe while maintaining enough momentum to keep the room engaged as they ran through tunes like “In Your Pocket,” “Amarillo” and “Running Through the Airport.”

And sure, the crowd may have been a bit modest in size (I get it – a midweek show following the Labour Day weekend can be a hard sell), but those who were there were most certainly appreciative of the band’s dreamy, psych-heavy sound. It’s a sound that’s easy to get drawn into, a sound that moves comfortably between dreamy and propulsive, never straying too far from the band’s underlying sense of atmosphere.

As their set came to a close, the band returned to the stage for an encore, with Lyon casually announcing, “Alright, we’ll play you one to really tuck you into bed. Or start out your night. I don’t know where you’re at.”

Given the band’s hazy, hypnotic sound, either destination works.

Page1 Page2 Page3 Page4 Page5

SEARCH

FOLLOW US

Facebook Twitter Flickr Foursquare Rss Inbox

THE PAST

Archives

TAGS

Tags
austra (10) British Music Embassy (14) Canadian Music Fest (11) canadian music week (20) cmf (10) cmw (42) concert (9) el mocambo (9) fringe (26) Great Lake Swimmers (10) horseshoe tavern (23) hot docs (109) jazz (12) Joel Plaskett (10) jukebox the ghost (15) lee's palace (27) marina and the diamonds (10) Massive Attack (10) mod club (12) Mothland (11) NXNE (94) of monsters and men (13) Phoenix (15) play reviews (11) Pulp (11) Roskilde Festival (22) rural alberta advantage (10) sharon van etten (10) suede (13) summerworks (34) SXSW (506) SXSW 2022 (11) SXSW 2024 (11) SXSW Online (18) the antlers (11) the cure (11) the national (10) the xx (11) Toronto (25) toronto fringe (14) Toronto Jazz Festival (55) turf (13) tweeview (10) Video (9) zeus (10)
The Panic Manual

We are a collective of individuals bringing you the latest in concert reviews, indie, britpop, Canadian, twee and all sorts of other music, movies, tv and everything else you like. Follow the manual to live a pleasant and fulfilling life.

All rights reserved