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Concert Review: Neil Young & The Chrome Hearts, Reverend Billy and the Stop Shopping Choir, August 19, Budweiser Stage

Posted on
20 Aug 2025
by
Paul

I must admit I was a bit disappointed when Neil Young & Crazy Horse abruptly cancelled their last tour midway though its run last year. But not being one to rest on his laurels, Neil was back before too long with a new backing band (The Chrome Hearts) and a new album and now he’s back on the road again. And on Tuesday night, Neil Young & The Chrome Hearts played the second of two nights at Budweiser Stage alongside Neil’s sister Astrid Young and Reverend Billy and the Stop Shopping Choir as part of the Love Earth tour.

Reverend Billy, a New York-based performance artist who takes on the persona of a reverend preaching the gospel of anti-consumerism, put on an interesting show alongside his Stop Shopping Choir. On the surface, their pseudo-gospel performance doesn’t really seem like a natural fit for a rock show opener – it came off a little hokey at times, though likely intentionally so.

Maybe it was the white suit and matching white hair or maybe it was just the similar name, but Reverend Billy at times brought to mind Baby Billy from The Righteous Gemstones if they had cast Steve Martin in the role instead of Walton Goggins. The group’s satirical pseudo-religious service carried a very real anti-consumerist and pro-environment message, making them kindred spirits to Neil Young’s own anti-corporate sentiments, even if many of those in attendance likely didn’t pay them much attention.

Taking to the stage shortly after 8:30, Young and The Chrome Hearts (Micah Nelson, Corey McCormick, Spooner Oldham and Anthony LoGerfo) opened the show with “Ambulance Blues” off of 1974’s On The Beach and played for a little over two hours, running through a set that drew from throughout Young’s six-decade-long career. Other highlights included “I’m the Ocean,” “Cinnamon Girl,” “Harvest Moon,” “Like A Hurricane,” “Ohio” (still relevant more than 50 years after its initial release) and the sweet, ukulele-led “Tumbleweed.”

Young kept the stage banter to a minimum (generally offering periodic variations on “How you doin’ out there?”) and the focus firmly on the music. And the band sounded great throughout. They may not be Crazy Horse, but the vibes were similar: crunchy guitars and long, extended jams, albeit with more organ and piano than you’d typically hear in a Crazy Horse set.

One of the more notable moments of the night was the performance of “This Note’s For You,” which Young apparently played for only the second time in the past 28 years, the first time being two nights before on the same stage. He even briefly altered the lyric to “This earth’s for you,” presumably to tie in with the Love Earth theme.

One cant help but connect the dots and figure out that the fact that he was playing a venue named after a beer must have inspired him to resurrect the song that features the lyric, “Ain’t singin’ for Bud.” And we’re all the better for it.

Sure, in a world where advertisements and brand endorsements are one of the few viable income sources for up-and-coming musicians, it’s definitely a throwback to another era to stand so staunchly against commercialism. But that’s Neil Young in a nutshell. And that’s why we love him.

Song of the Day: Militarie Gun – B A D I D E A

Posted on
18 Aug 2025
by
Paul

“B A D I D E A” is the latest single from LA’s Militarie Gun, taken off their upcoming album God Save The Gun, out October 17 via Loma Vista. Check it out.

Song of the Day: She’s Green – Little Birds

Posted on
17 Aug 2025
by
Paul

“Little Birds” is the latest single from Minneapolis shoegazers She’s Green, a dreamy, atmospheric number off their recently released Chrysalis EP. Check it out.

Concert Review: Kathleen Edwards, August 15, Sonic Boom

Posted on
16 Aug 2025
by
Paul

“Hi everybody. Well, what a strange thing.”

So said  Kathleen Edwards as she surveyed the crowd at Sonic Boom Records, all squeezed in between the aisles of vinyl for her in-store performance in advance of her upcoming album Billionaire, due out next week. Not the most conventional way to start a set, but it worked. And while it may have felt a bit strange, she did comment on how much she appreciates people still coming out to record stores and buying actual physical copies of albums. 

“I haven’t played most of these songs before in front of people so thank you for being very … gentle,” she said, and the crowd obliged, listening intently as Edwards ran through a mini-set composed mostly of tracks off the new Jason Isbell-produced album. Opening with “Little Pink Door,” Edwards set the tone with a warm melody and a lyric that seemed particularly apt for a record store performance, referencing an album given as a gift – or, as she more precisely sang, “I’m showing my age, it was a compact disc.”

Other highlights of the set included “Save Your Soul,” “Say Goodbye, Tell No One” and the title track off the album, a moving track inspired by the untimely death of a woman she knew.

While she may have started out the set commenting on what a “strange thing” this was, Edwards was relaxed and real throughout, and the new songs sounded strong – full of emotion and sharp, personal detail. If this short set was any indication, Billionaire is going to be a record well worth spending time with.

Concert Review: Architects, August 14, Great Canadian Casino Theatre

Posted on
15 Aug 2025
by
Paul

I will admit up front that going into this show I was not overly familiar with the music of Architects. Mostly, I was just amused by the idea of a metalcore gig happening in an Etobicoke casino. And as I entered the venue, it was definitely a bit amusing to see throngs of black t-shirt clad Architects fans mingling with the casino regulars. (On a side note – who exactly are the people who head out for an evening of gambling on a Thursday night?) It was also somewhat surreal to wander through the sterile, carpeted environs immediately outside the theatre, which looked nice, sure, but felt less like the lead-up to a rock show and more like a hotel convention centre.

Still, once inside the theatre proper, it was more or less like any other club show. And, to be fair, there are some advantages to seeing a show at a casino – including, yes, the opportunity to hit the slots before or after the set. It was also decidedly heartwarming to see some parents bringing their kids to the concert for a little metal family outing, something that’s just not an option at your average bar or club show. Thankfully, most of those kids seemed to be wearing some kind of hearing protection too. Good job, parents. And, of course I’d be remiss if I didn’t mention the soft opening of the Lobster Legend Noodle Bar on the premises – second floor, western entrance, to be precise. See you there!

As for Architects, as I said, I was only slightly familiar with the band, but I had the general idea and having given their latest, The Sky, the Earth & All Between, a few perfunctory listens beforehand, I felt sufficiently prepared for the show.

Following a solid opening salvo of “Elegy” off the new album, frontman Sam Carter addressed the crowd, commanding them to “get on your fucking knees right now!” during “Whiplash.” Most complied, getting down low, then jumping up and going wild at the appropriate moment – admittedly, it did look pretty cool. I, however, did not comply. Once you get past a certain age, it’s just not that easy to get back up. It’ll happen to you too, kids …

Later in the set, Carter showed off his sense of humour, shouting, “Toronto!” to pump up the crowd before cheekily adding, “Or should I say 25 or 45, maybe 80 minutes outside of Toronto?”

Quibbles about whether this could be truly billed as a Toronto show aside, Architects put on a bracing, high energy performance that clearly resonated with their fans. Carter noted early on that he could already tell this was going to be one of the best shows of the tour but added that that didn’t give the crowd an excuse to slack off.

He later reminisced about their first time playing Toronto back in the day, recalling how it felt like “home” after weeks of performing to listless U.S. crowds: “It felt like we were playing at home, and it was fucking amazing. And every time we’ve come back it’s felt more and more like home”

And the Toronto crowd seemed more than happy to welcome them back to their home away from home, with one fan even holding up a banner they had made of an image of the band overlaid on a Canadian flag during the encore. A bit odd perhaps, but Carter appreciated the effort, exclaiming, “That fucking rules” before proceeding to wear it over his shoulder for a moment and then placing it over a mic stand for their final number of the evening, “Animals.”

All in all, a solid evening. I came for the novelty of metalcore in a casino and walked away suitably impressed by Architects’ live show. Sadly though, I never did get the chance to check out Lobster Legend Noodle Bar. Maybe next time.

Song of the Day: Just Mustard – We Were Just Here

Posted on
14 Aug 2025
by
Paul

“We Were Just Here” is the latest single from Ireland’s Just Mustard, taken off their upcoming album of the same name, out October 24 via Partisan Records. Check it out.

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