Between The Rock And A Hard Place: Newfoundland, Great Big Sea, Alan Doyle, And Even Russell Crowe

"Come And I Will Sing You" - On The Seventh Day Of Christmas...Bold And Daring Moves & A Time For Every Necessary Purpose

How anyone manages to resist this face is completely and utterly beyond me.

Equally irresisible in black and white.

The second set of the Winnipeg Great Big Sea show began the same as did all of the two-set Fortune's Favour shows - with the band members together at the drum riser, playing the collection of traditional Newfoundland songs described on the shows' set lists simply as "Tunes". Another night, another crowd, another occurrence of what was a bold, perhaps even a daring, creative experiment by GBS.

For a band whose fans expect an "edge of the stage' dynamic that makes them feel as if there is no boundary between performer and participant - a band whose fans at times behave as if their own contributions are more the point and purpose of the show than are those of the band members - to come back onstage after an extended intermission during which many of those same fans have been busily self-lubricationg and noisily socialising and open the set with a performance number that begins with the understated entrance of only a few of the band members, takes place back away from the accustomed stage edge, has a dynamic in which the players focus on one another instead of on those off stage, and puts the "no GBS show can possibly go on without me" audience solidly in the role of exactly that - audience...this definitely qualifies as a bold (and daring) creative move.

It was a move I loved, one I enjoyed at every Fortune's Favour show I saw, partly because of that boldness and daring, partly because it was fascinating watching them all playing to one another, creating a set piece that gave a glimpse not only into the ways in which musicians share music together but also into a bit more realistic view of what a real kitchen party is like. Maybe most of all because of how it did put the showgoers into the role of audience, something GBS really needs to accomplish more effectively if they are ever to have any lasting hope of being able to play music that goes appreciably beyond that which exists solely to be a soundtrack for showgoers' jumping up and down, screaming out lyrics, and swilling booze - if they ever want to have continued success doing music about that which is larger, more meaningful, and more universal than making the people standing immediately in front of them feel like something on this planet is All About Them And Them Alone.

Tunes was clearly and inarguably not All About Them And Them Alone, clearly and inarguably instead about the broader purpose of Sharing Music, an open invitation to GBS's audiences to take their pleasure in witnessing the fruits of that sharing. Tunes was This is who we are, this is what we do, this is where we come from put on display so that it might be understood and accepted and appreciated. Or not, as the case may be.

As a second-set-opener, Tunes played to mixed results, from show to show and within the audiences of every show. Each time I saw GBS perform Tunes, the reactions among those in the audience were widely varied: Some are so trained to being blown away by GBS from stage edge that they barely seemed to notice the understated beginning of Tunes, continuing to jabber and swill heedlessly throughout a good part of the number, wating until Donkey Riding or Captain Kidd persuaded them that the "real" GBS show had resumed; others paid confused attention, with reactions ranging from curious to puzzled to downright impatient (as one deliberately disrobed Pop Tart summed it up, "What's the fucking point? Sean can't even see me from back there!"); a considerable number didn't seem to know how the hell to respond...right up until the point where Alan begins to encourage them to clap along and suddenly all was right with their world because now there was somethig for them to do - now they felt once again like they were necessary.

But at every show, there were also some wise enough to realise that just as there are times during the course of the show to clap, times to dance, times to sing along - there are also times during the show to watch attentively and listen appreciatively. Not all that many, nowhere near close to a majority, but some, and those were there folks who appeared to be getting the most pleasure out of Tunes. GBS needs more of those kind of audience members, an increase that to some degree might have to come from "re-training" the expectations of some current showgoers, opening more eyes (and ears) to the potentials and possibilities of what can happen during a GBS show and how enjoyable it all can be. Regardless of whether that was the intention, admitted or otherwise, Tunes was a notable step along a path toward a necessary goal; I'm really looking forward to more such bold and daring creative progress along that same path.

And Tunes was always a delight to see and hear - the best and most necessary goal of all.

Winnipeg got high marks for its preponderance of audience wisdom. For a big crowd (nearly 5,000), the swiftness of chatter cessation and the intensity of attention paid was truly impressive. (Note: I didn't leave Sean and Kris out of the Tunes pictures by choice; on the contrary, the one shot I got with Sean in it only happened because I leaned way over in front of the person to my left to shoot around Sean's mic stand, and I couldn't bring myself to be that rude more than once.)

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Donkey Riding is never going to be one of my favourite songs, so just a few photos from the second song of the second set, the first two being very different "Bodhran Sean" expressions.

And then, best of all no matter what the song, there is that face again, the one that just has to be loved.

Now how is that for perfect timing? Done five minutes before the Canada/USA World Juniors hockey game. Oh yeah, oh yeah, oh yeah, oh yeah. Barring a foolishly late night post-fireworks, tomorrow should be When I Am King - the perfect beginning to a brandly new year. Goes excellently well with my sole resolution for the year too.

A very Happy New Year to you.

"Come And I Will Sing You" - On The Fifth & Sixth Days Of Christmas...Living While You're Alive, The Minstrels And Their Tunes, Dreaming In Black And White, & The Much-Missed Rock Star

Because I couldn't decide how or where to split up the songs at the end of the first set of the Winnipeg show, this wound up being a huge entry, so much so that I'm making fewer entries show when the main blog page is opened, in the hopes that this will make it so the page will open in a reasonable amount of time. So much so that I've decided this is going to be both the Fifth and the Sixth Days of Christmas, especially since I am getting this up at the tail end of the 5th Day and the very beginning of the 6th Day. Bit of a stretching of the rules, to be sure - but then, that's what rules are made for.

First things first...last night was cool.

Start It Up (Cory Tetford, Barry Canning, Chris LeDrew, Paul Kinsman, Boomer Stamp, Glenn Parsons)

It's been ages since I've seen Cory play that great big beautiful Gretsch. All the fellows played well; it was quite the assemblage of Newfoundland talent up on that stage and they all looked to be having a grand (and quite well-lubricated) time together. I wish so much that Alan had been able to show up too; he belonged up there with his friends, especially when they were playing songs he and Barry co-wrote for the CD Alan produced. Most of all when Cory and Barry were exchanging lead solos; I kept thinking how good Alan would look - and sound - right in-between the two of them, making his hockey-dance Fender cry out in impure pleasure. He would have been spectacular, and he would have had so much fun.

 He was missed, very much. As good as last night was, it could have been so much better.

Last Man Standing

When You Were Young (partial)

Yes, definitely missed.

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Back to Winnipeg, a place where Alan was most assuredly present...back to a place where it was as good as it gets because of that presence.

Yes, definitely missed last night.

Immediately after River Driver came Here & Now (featuring more of the Body Beautiful).

The sexiest man of all is the man who looks great and knows it - here and now.

The solo spot follows Here & Now, and in Winnipeg it was up to Sean to make the crowd very happy by singing a song by a native son - Neil Young's Helpless.

After Helpless, it was time for the final two songs of the first set: Company of Fools and Run, Runaway. As it gets closer to the break, the pictures get blurrier, mostly because Alan was so wound up by then it was hard to keep up with him. He was a blur of motion, so in that, at least the photos are an accurate depiction.

Company Of Fools.

When I decided to video the pre-RRA Singalongs, I didn't expect to wind up with such a delightfully large, absolutely and irresistibly gorgeous Alan.

Finishing up with the last song of the first set.

Going out with flourish and flair.

Intermission time, for me too. Time for hockey and I hope plenty more opportunities to play Oh Yeah. Back on Wednesday for the Seventh Day.

"Come And I Will Sing You" - On The Fourth Day Of Christmas...Whack Fall The Laddie & The Body Beautiful

A pair of River Drivers.

Two tunes from the middle of the first set for today: Ferryland Sealer and River Driver. It surprised me when they did Ferryland at this point in the Winnipeg show; before this, at the shows they had done this tune it had mostly been played at the end of the second set. It had been especially effective as a (welcome) replacement for Mari Mac, a delightfully different departure from the too-often set-in-stone "Holy Triumvirate" main-set-closing combination of Consequence Free/Mari Mac/Ordinary Day. For awhile, they were putting Consequence Free up early in the first set, another refreshing change.

I never heard how Ferryland was played live back when they used to do it on a regular basis, so I can't compare live versions, only say that this live version is exponentially more powerful than the one on the Turn CD, with a fierce bouzouki from Alan and an energetic accordion from Bob, along with bass and drums that drive the pace along furiously. More dramatic lighting emphasises and enhances it all. They've completely changed my opinion of the song with this live version.

I would have liked to have taken a few more pictures of Sean during this song and other songs too. But it was a difficult angle - I was directly in front of him and the mic blocked out much of his face, plus the lights behind him were often blindingly bright. And then there is the matter of my customary reluctance whenever the reserved-seat crapshoot places me directly in front of him. Because it always seems to me that the person Sean really wants directly in front of him at shows is some statesque, gorgeous, buxom lass, someone he has never seen before and will never have to see again, someone who is utterly incapable of tearing her eyes away from him all show long - and because I am keenly and persistently aware of being so very much none of those things, I tend to get about as close to bashful and reticent as is possible for me when I find myself there, the end result being that I never take as many actual pictures of him as I see could be taken. But such as I do have, is here.

River Driver nearly always leaves even the least attentive crowds in breathless awe, so much more so with a crowd like this Winnipeg one, a crowd which came ready to focus attention on the stage, rather than in the hopes of causing attention to be focused on themselves. Wise choice, since this was a stellar rendition of the song. When Alan sings River Driver, so much of his passion is expressed with his body as well as with his face; given his instrument of passion's choice is such a beautiful body, watching him while hearing him inspires in me an even more intensely breathless awe.

First, the intro, during which Alan considers the possibility that this wistful love song might perhaps be a bit misreprentative of the usual sort of tune sung by the men in the logging camps.

And then the performance of River Driver and the Body Beautiful begins, and a hush falls throughout the crowd, broken only occasionally by a soft, sharp intake of breath here and there. Definitely here.

 

And that will do it until tomorrow. The Fifth Day Of Christmas should be Here & Now, a re-link to the video of Sean's Helpless solo, and - if I get a bit earlier of a start tomorrow than I did today (which is to say, if I am not out till all hours tonight), perhaps Company of Fools. Not so sure about not being out till all hours, though - I am planning on going to see a splendid guitar player tonight, one of my very favourite guitar players, one I have not seen in much too long. Chances are good I'll be out as late as he plays.

And they've played Oh Yeah 12 times in the Canada/Kazakhstan game. So far. There's still 7 minutes to go.

"Come And I Will Sing You" - On The Third Day Of Christmas...Winnipeg 3: The Self-Authored Epitaph & The Inevitable Frenzy

ETA: No way I can let this go by without (celebratory) comment...during the Canada/Czech Republic World Juniors game last night in Ottawa, every tine the home team scored, the rink echoed delightfully with Oh Yeah:

I'm a six gun, I'm fully loaded
There's a love bomb, I'm about to explode it
I'm a bonfire, I'm burnin' through the night
Bye, bye - I'm an arrow in flight
Oh Yeah
Oh yeah oh yeah oh yeah oh yeah
Oh yeah oh yeah oh yeah oh yeah

They played it after each and every Team Canada goal. All eight of them.

Oh yeah.

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Far from the shores.

England is just about as close to perfect as I  believe any song can ever get. I am tough on songs, especially when it comes to lyrics; most of the time, even with songs I think are excellently written, there will be one or two words I can think of that might have worked a bit better - a verb change here, an adjective or adverb alteration there - or perhaps a change of voice or a cleaner rhyme or more consistent melody-line inflection or cadence. Most of the time, but not always, and England is solidly in that rarefied "not always" category. The song is beautifully written, impeccably written, a complete whole with not one superfluous element; it neither hides behind nor compromises its honesty and sincerity with artifice for the sake of artifice.

England tells a true story from the Past which is equal parts explanatory metaphor and revelatory depiction of dual true stories in the Present - the macroscosm of a culture and the microscosm of the travelling musician, lonely on the endless road and longing for a distant home. As irked as I am in general about the inexcusable lack of notice Fortune's Favour has received in the recent ECMA award nominations (I find it exceptionally difficult to believe that GBS chose not to participate in this year's ECMAs, so egregious error it must be), I think the greatest slight of all was done when Sean McCann was not nominated for a SOCAN Songwriter of the Year Award for England. Time will, however, be the ultimate judge: A hundred years from now, England will still be sung across Newfoundland.

With England, Sean has most likely written what will eventually become his signature song, the song that same Ultimate Judge will determine to be the pinnacle of his creative output. Before England, I had thought that pinnacle would be Feel It Turn, and how fitting that had always seemed since it was a song in which the songwriter had written what sounded so much like his own aptly self-descriptive epitaph: Lost bird caught in mid-migration. Every time I heard those words sung, I clearly saw the man who had written them, more clearly than at any other time. But the world does indeed turn, and as we turn with it, so too does the aptness of our epitaphs; now the songwriter has incisively described his present self and circumstances - Should we find Fortune's favour/And be spared from the gale. Now, when I hear those words sung, again, I see the man who wrote them the most clearly.

(Before anyone asks, yes, I think the same about self-authored epitaphs in Alan's songwriting, see the same clear view of him in the most self-aware and self-revealing lines he has written. He too has a pair of them that aptly depict a subtle but substantive difference describing the course of his own migration, a movement from the wistful longing of Can you love me anyway? to the insistent plea  Love me now while we're alive!  Again, the self-referential words in which the writer himself is most clearly - and most movingly - visible. And I also think the songwriter of Straight To Hell richly deserved his own SOCAN nomination.)

Part of what gives England so much power is that its resolution is implicit instead of explicit; the song ends with longing unabated, desire unsatisfied, loneliness unquenched, and yet also with hope unvanquished, and in so doing, it impels the listener to choose the final outcome. While the harshness of his circumstances makes it difficult to believe that the logical outcome could be the song's speaker ever finding his way back home again, his own passion and desire to do so spark an answering passion and desire for Hope to wrest the pen from the hand of Logic and find some way to conclude the story accordingly. And thus it is a song remarkably suited to its creator,  a consonance of truth which gives it the full measure of that power.

As they are currently playing it, England is a compelling performance piece, one that moves dynamically from individual instrumental efforts to impassioned vocals, all of it highlighted by dramatically effective lighting. Video does much a better job of sharing the full scope of the presentation, but with its brilliant performances and dazzling lights, the Winnipeg show made it possible to give a bare glimpse of that scope in photos.

Amd then the segue to a song about a dead horse, a song  that, as Alan notes, invariably works the crowd up into a frenzy. With this kind of a performance - one that ranges from sweet and silly to sultry and sizzling - it's no wonder it arouses such a response.

Without a doubt, the sexiest performance ever of any song about a dead horse. Crowd frenzy, indeed, and not a bit surprising - inevitable, actually. I can't seem to focus on much else after that last photo; totally undone - so I think I'll call it a (third) day and head over to the Duke for pint and maybe lunch too. Ferryland Sealer tomorrow and River Driver as well - the latter with a wealth of views of the Body Beautiful. Looks like I'll wind up undone again on the 4th Day of Christmas.

"Come And I Will Sing You" - On The Second Day Of Christmas... Winnipeg 2: The Master Showman

The face of the Master Showman.

I love to watch Alan's face as he performs. His face tells the endlessly fascinating story of each show; it reveals how he works with consummate skill and relentless passion to turn an audience into his audience - to charm and beguile, seduce and thrill, persuade and command...and then to revel in  giddy delight over what he has accomplished. Calculation, determination, exhilaration, jubilation, celebration - the full cycle of Alan Doyle, each constituent part necessary to complete the utterly unique and completely irresistible whole. The same cycle that makes him all at once the Rock Star, the Petty Harbour Boy, and  the Dear Man, as well as the Master Showman. And what is required from his collective partner of the evening? Capitulation - willing and eager, with matched giddy delight and with equal celebration.

Which goes a long way toward describing the keen pleasure that was the Winnipeg show. Today's photos are from When I'm Up and Jack Hinks (England will have to wait for tomorrow), two songs during which the Showman's skills are intensely focused on the ultimate goal.

The instrument of joy.

A song about a Newfoundland Superhero. Quite possibly the most deadly (and sexy) Jack Hinks I have ever seen performed.

Assuming my flights today get off the ground and go where they are supposed to be going, Part Three will be up tomorrow - Far from the shores and horses that fall through the ice. Perhaps a whack fall the laddie too.

"Come And I Will Sing You" - On The First Day Of Christmas...Winnipeg Begins

(A bit premature here, but it is already Christmas Day in Newfoundland, making it exactly the right time.)

“We are showmen and we live and die by our trade,” offers electrified lead singer Alan Doyle. “I am drawn to the light and I was born to burn”. The Story Of Great Big Sea

The Winnipeg Great Big Sea show was wonderful - one of those unforgettable nights when all of the elements come together to create an amazing moment of breathless magic. The MTS Centre crowd of nearly 5,000 was eager and enthusiastic and oh-so-willing; the sound was impeccable, the lights were dazzling, the instruments were handled with swift assurance; the set list was perfectly balanced to show the scope and range of the players' talents. The performances were brilliant.

And Alan was spectacular; from the first to the final note he was in absolute and total command of the stage, the crowd, the show; he knew he had us in power, and his self-awareness was clearly evident and purely glorious. Winnipeg was Rink Rock at its best and the Rock Star at his brightest. Winnipeg was Great Big Sea at their most powerful and persuasive, Great Big Sea being all they are capable of being. Winnipeg was Alan Doyle being what he was born to be. Born to burn.

And burn he did, with a fierce and ubabated blaze, all through the night. Star of wonder.

Winnipeg felt like a gift, precious and priceless, a gift I'll give back as best I can. Happy Christmas, with love - tonight and each of the eleven nights of Christmas to come. And all the nights that follow after.

First chords...after waiting all this time.

And loved tonight he was.

Are you on my side?

It soaks into your eyes.

So delicate and lovely.

A Process Man am I and I'm telling you no lies.

On the night that Paddy Murphy died...the floor beneath my feet shook so much I wound up with only a few clear pictures.

So Love Me Tonight, Process Man, and Paddy Murphy for the first day of Christmas. Tomorrow (sometime tomorrow, not sure exactly when since it is a travel day for me) will be When I'm Up, Jack Hinks, and maybe England.

.

"On Deck And Below" - Unwrapping The Big Gift First: Magnificently Premature Winnipeg

ETA: Speaking of Big Gifts, the CBC site has a great piece - one which includes a link to a lovely video segment - about the Gathering Place's Christmas Party, where GBS (and a few very talented others) provided the entertainment. This is where Alan eventually wound up sharing the mic with Saint Nick - not on video, but that Yuletide tale did come from the red-suited fellow himself.

When I was little, money was often scarce for such necessities as rent or the light bill; the concept of something so luxurious as a lavish Christmas was as unimaginable as it was impossible. And yet every single Christmas morning, we found a gaudy pile of colourfully wrapped presents beneath our tree, delighted discovery inevitably followed by the traditional giddy frenzy of unwrapping.

How my Mom and Dad managed to orchestrate that giddy frenzy was to wrap all kinds of "small" presents - a glittery hair clip, a simple toy, a multipack of candy bars opened up and each wrapped separately - and arrange them all around the sole Big Gift, the one present intended to be the brightest and best moment of each and every Christmas Present.

Sometimes I wonder if my Mom and Dad had ever expected me to wait until after opening all of the surrounding presents before tearing into the Big Gift (always immediately recognisable because it was decked out in a plethora of bows); probably not - much more likely they knew me well enough to realise from the start that I'd have no patience for pleasure deferred or delight delayed. The sooner that pleasure and delight came, the greater the enjoyment of everything that followed after. Every Christmas, I unwrapped the Big Gift first.   

I see a large number of Great Big Sea shows. Among that large number are many shows which are in my opinion very good shows, some which for one reason or another appear to be a bit of a struggle, and a (surprisingly) few which I think are stinkers. And then there are the shows I love with all of my heart. I loved the Great Big Sea show at the MTS Centre in Winnipeg this most recent tour leg, loved it with every bit of my heart. It was a spectacular show, one of those amazing nights when everything falls into its perfect place - awesome performances, great sound, dazzling lights, an eager crowd ready and willing to follow wherever they were led. It was Rink Rock at its finest; it was Rock Star at his most magnificent. I can't say it was the "best" show of this tour leg because "best" doesn't 'fess up to its own subjectivity. But I can say it was my favourite show of this tour leg. And I will.

I got the idea in my head to put the photos from this Favourite Show up here over the course of twelve days, beginning on December 24th and ending on Old Christmas Day, January 6th - my own version of the Twelve Days Of Christmas, my own holiday present to those who would enjoy it. I've got an ample supply of photos from this outstanding show and time enough to get the editing done, even with my current snail's-pace progress learning the new (Vista-compatible) photoediting program, so it seemed a viable plan. Until I looked closely at the photos, especially the photos from the final moments of the Wiinnipeg show, taken while Alan was singing Rant & Roar, taken while he was basking in the glory that was the Winnipeg show and his own dazzling performance.

Alan Doyle was magnificent in Winnipeg - magnificent in performance, magnificent in appearance. And best of all, he knew it; that knowledge showed clearly when he was singing the final song at this spectacular show. It shows clearly in the photos of that final song. As it should; I would dearly love to see him so clearly showing that same knowledge each and every day of his life. His pleasure and delight give me far too much pleasure and delight to permit any deferring or delaying.

Rant & Roar, Winnipeg show.

Absolutely gorgeous

The crowd sings on command

Cuts a fine figure

Holding onto the last note as long as possible

Victory celebrated

Doing the introductions

A last farewell wave

Blowing a kiss goodbye

Utterly magnificent.

The enjoyment of the rest of Winnipeg to follow after, starting on the 24th.

"A Fortunate Find For A Lucky Guy" - Alan & Sean On CBC Radio; Alan With Russell Crowe

My favourite Rock Star Guitar God WIAK lead solo, second Vancouver show

WIAK deadly pick slide, Vancouver 2

I was going to wait a several days before putting up new entry, but a few of today's delights have undone my resolve. First up, there was a gem of an interview with Alan and Sean on CBC Radio 2's Drive program today, a rebroadcast of an interview that took place right before the Thunder Bay show (funny how the chance comment about thinking of the audience as all being nude worked out in TBay). For those who missed out on the online broadcast feed:

Alan Doyle & Sean McCann, Drive, CBC Radio 2 (Real Player audio file, 20 MB) - interview begins about 30 seconds in on the counter

(Thanks to Christina for capturing this while I continue to fight the Vista wars.)

And then there was this. I've been counting on some nosy paparazzo to come up with a glimpse into Alan's "LA meetings," and sure enough:

Serious work and deep conversation at the Euro Cafe in Beverly Hills, CA:

First, a moment of pure pleasure over the sight of a pair of such gorgeous legs (feel free to pick your own pleasure's pair, as will I). And then, because there are times when you have to just come out and say it clearly with no wishy-washy equivocations or any arse-covering bullshit...I hope Russell gets all that he wants out of those LA meetings. And I earnestly and sincerely hope most of all that he finds a way to talk Alan into every single thing he wants him to do.

"Are You Happy With The Man You Have Found" - Second Vancouver GBS Show

Walking On The Moon

I am haunted by a song. Alan's solo at the second Vancouver show -  he performed Spirit Of The West's Political - struck me like a bolt of lightning. I had the song on my mind the rest of the show, the rest of the evening at the pub afterwards, on the walk back to the hotel, even as I fell asleep. I woke up the next morning with the chorus playing in my mind. It accompanied me across the border and into my home. I suspect it will now go wherever I go because it appears to have taken up residence in my heart.

Politicall (w. intro), Alan Doyle, solo, Second Vancouver GBS show

And if you are going to download just one video to be able to see it "right side up" (had to do this one vertically - it was the only way to get a view of Alan between those ahead of me while keeping the camera low enough not to be noticed by Security), this would be an excellent one to choose to get the full force of Alan's performance.

Political, Alan Doyle (solo), Great Big Sea @ the Centre For The Performing Arts, Vancouver (second show), December 2008 (Quicktime download file, 280 MB)

I've been telling myself for two days now that I need to wait for the effect and impact of Alan's solo to settle down a bit before I try to write anything in general about the second Vancouver show, a show which definitely had its own effect and impact, as well as its own power to haunt. But waiting is not working...that solo is still wrapped around my heart and my mind. It insists on being written about first, an insistence I am going to meekly obey.

Even though I'd never heard of Spirit Of The West, let alone heard any of their music, before stumbling across Great Big Sea, this was not the first time I'd heard Political. I listened to it six or so years ago - SOTW was the one band nearly everyone told me I would most assuredly love, given "how much they were like GBS", so of course I sought them out to see if this was true - and thought it had interesting lyrics, but not much more than that. I saw SOTW perform Political last year when they opened for GBS at the Grey Cup gig, but it left no lasting impression, even though I enjoyed that SOTW performance much more than I have the other two times I have seen them live. And then Alan comes along and performs Political and completely captures both feeling and thought with it. He leaves me haunted by it.

I'm not completely sure why that is. Partly, I suppose, it is because Alan is an unparalleled performer, one who finds a way to not only express, but also to embody all of the raw and jagged emotional passion that is there to be found in this song, all of its essential Truth.  And partly it is because he is Alan Doyle and I am wide open to whatever emotional passion or essential truth he is choosing to express and embody.  What caught my attention first and foremost this time was the mention Alan made in his intro about how he used to perform Political a long time ago; this remark whetted my curiousity - Alan chooses his songs for good and thoughtful reason now, and my guess is he has always done so - about what it was in this song that appealed to him enough to sing it then and to sing it now.

When Alan began to sing and play the song, I could clearly see the boy just starting out in his Life Of Music, singing cover tunes to inattentive drunks in noisy pubs - younger, far more innocent, with little damage and much less wisdom to be seen in his eyes and his smile.  But still some damage and some wisdom even then, because what I was hearing while he was singing SOTW's classic tune was reminding me of one of Alan's own songs from There and Then:

I was feeling a little underwhelmed
about hanging around with you and
feeling over cautious
every word, every little
look, every little sign
every little phrase
put me deeper in your doghouse
you'd let me out to run across your world
I ran into a wall you told me I built
then you'd reel me in, ream me out, pick me up
push me out again 

Why did everything, every little thing
every little thing
with you and me have to be so political?

Too busy tripping on my tongue
to try and stand my ground
I can still see myself crying in your lap
asking you are you happy with
the man you have found? - Political, Spirit Of The West

Well, I know what it's like to be lonely
Yeah, it comes way too easy to me
Oh I've tried and I've tried
To be all that you wanted
It was something I just couldn't be
And all the days I spent lyin'
And the days I spent tryin'
To be people I just couldn't be
I know that I couldn't be
The way that you wanted me. - The Way You Wanted Me, Alan Doyle

Suddenly, it made perfect sense why Political would be one of the songs Alan chose to sing in the noisy pub to the inattentive drunks. It made perfect sense why it was this song I had shrugged off before was now hitting me like the proverbial tonne of bricks. It makes perfect sense why it is I now find myself haunted by a song.

And I think perhaps I may have been somewhat unfair to SOTW. I loathe Home For A Rest - no, that's not fair either...I really only mildly dislike the song; what I actually loathe are the morons who bellow all show long, insisting that Home For A Rest be played (sometimes so frigging stunned as to do this bellowing for Home For A Rest at GBS shows), and I have tended to dismiss SOTW on the basis of the "culture" that has grown up around that one song, a reaction which is damned uncomfortably akin to those who dismiss GBS because of the exact same stupidity that goes on with Old Black Rum.

There are some other things about SOTW's show I did not particularly enjoy - the nonsense with the drummer singing That's Amore and other foolishness at one of the shows was not a big hit with me, though their crowd lapped it up - but the fact remains that there is genuine and honest emotional power in some of their songs, Political most definitely included, even if it did take hearing Alan perform the song before I understood this.

I'm already really glad SOTW is going to be opening for GBS this coming Spring, happy first and foremost because as much as I have loved the Evening With GBS shows, I have become convinced that the two-set format is too rough on them with how many consecutive shows they keep insisting on doing. They need either to do fewer shows or they need to take more days off between shows, but if they will do neither of these things, then they need an opening act so they can do just the one set each night. This is going to be better for GBS - better for Sean's tender elbow and for Alan's precious pipes and his poor battered fingers - which has me all in favour of it from the get-go...and who knows? I just might find out I like SOTW's music too if I'll give them a fair chance.

I need to listen to them with an open mind and heart when they do the gigs with GBS, need to see and hear them for what they really are, not hold them responsible for the worst of their fans or fault them for not being anywhere near as much like GBS as some apparently think they are. And when they inevitably end their opening set with Home For A Rest, I need to feel the same kind-hearted compassion for them that I feel every single fucking time GBS closes with Old Black Rum.

But it would probably be monumentally unfair to John Mann to expect him to leave me feeling haunted by Political. I'm pretty sure that's an Alan-specific response on my part.

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Old Brown's Daughter - the last encore

The second Vancouver show - the final Fortunate Tour show and final Great Big Sea show of the year (with the exception of Saturday night's Daffodil Place show, which I earnestly hope was a stellar success and a complete blast for them all, but most especially for Alan as a much-deserved reward for and celebration of all of his diligent fundraising efforts) - was unsettling. No other word comes to mind before that one, though emotional, moving, and powerful follow quickly after. Still, unsettling remains in the lead. There was some debate post-show about what had actually happened and what it might mean, with no definitive conclusions reached. It's difficult enough to write about a show while still bewitched by one part of what happened during it (and equally bewitched by the gorgeous sight of that shirt on that man), more difficult still when you are not quite sure what was really going on during other parts.

Perhaps the wisest course is to stick with what is known, with what is sure and true and what can be trusted and believed in and loved: They were clearly exhausted and they quite simply played their hearts out; this is what really matters about Second Vancouver. They refused to yield to weariness, and they were utterly magnificent in that refusal. When Alan came out for the encore and sang Walk On The Moon more with his indomitable heart than with his weary voice, it became the third-most-beautiful version I have ever heard him do of his much-loved song (first will always be New Orleans, second his ECMA Songwwiters' Circle). Watching Sean holding his tender elbow during the final song, the situationally chosen a cappella Old Brown's Daughter, was pain and pride inextricably linked together.

At Vancouver 2, they were everything I have loved about Great Big Sea from first listen, everything I will love about Great Big Sea until last listen. That is as much as I know for sure about this show; it is as much as I need to know for sure about this show.

I have quite a few photos from this show - more to add to the somewhat daunting unedited-photo backlog (made all the more daunting by my continuing lack of proficiency with the frigging new photoediting program) - too many to finish quickly enough to put here now, even though some of those pictures do much better at illustrating the complexity of this show than words ever could. I'm inclined toward doing all this show's photos before the others, but that will still take quite some time, so for now I've chosen to use the photos from just one song to give a glimpse of the complexity that was Vancouver Two. This, then, is Alan Doyle in the fullness and the beauty of that complexity, Ordinary Day, final Fortunate Tour show, Vancouver.

A deeply moving - and, yes, a haunting - range of expression from a man who is ever the amazing and compelling performer, who is even more so a man whom anyone and everyone should be happy to have found. I most certainly am.

"Cuts Like A Knife" - Vancouver (First Show)

Last lovely, lingering, revealing view from this show

No worries - the title of this entry doesn't forebode some vulnerable laying of a tender heart out onto the hard, cold table (well, no more than usual, I suppose): It's the title of Kris's solo last night, the Bryan Adams tune he performed that got the Vancouver Centre for the Performing Arts crowd singing along last night. I would have loved to have gotten it on video, especially when the rest of the band members came out at the end to join in chorus, but Security Dude and I were still having a difficult time negotiating the pictures part of the deal, so chancing video was out.

I did manage to get an audio file of Kris's solo, though, and same as I did with Murray's last solo spot, here is an audio-only download version, as well as a Youtube version that sounds a whole lot better than it looks:

Cuts Like A Knife download version (audio only), Kris MacFarlane (solo, W. intro), Great Big Sea show at the Centre for the Performing Arts, Vancouver. December 2008 (Quicktime audio file, 2.65 MB)

Cuts Like A Knife YouTube version (audio only)

One more audio file, this one of River Driver, along with Alan's full intro for the song, which I have been enjoying at each show. Added bonus in the intro: The tail end of Alan's comments about Metallica ("pansies").

River Driver w. Intro download version (audio only), Great Big Sea, Centre for the Performing Arts, Vancouver, December 2008 (2.65 MB)

Since the negotiations had been as difficult as they were with Security Dude, there's only one more video, one "real" video, done at the very end of Rant & Roar:

Rant & Roar (show-closer)

I have much higher hopes (and a somewhat less-exposed-to-Security's-whims seat) for tonight's show. I would dearly love to be able to see, hear, and share what should be Alan's tour-ending solo.

Ending this Canadian leg of the Fortunate Tour with two sold-out shows in Vancouver is definitely going out with a bang, not a whimper, and it is exactly the high note they all deserve after working as hard as they have these past months. One more tour show to go, followed by the Daffodil Place gig, and then it is truly home for a well-earned rest.

They had a good, enthusiastic crowd last night - I have always really liked the Vancouver GBS crowd - and I hope they get an even better, even more enthusiastic crowd for their tour-closing show tonight. Favourite music moment of last night's show for me had to be the return of Lukey, for very personal reasons. I'd asked David beforehand what song he most wanted to hear and he'd said Lukey. I'd told hinm they hadn't been doing that one much anymore, so his chances were slim. His second pick was Oh Yeah. He was delighted with Lukey last night, and I am earnestly hoping he will be delighted once again tonight. He was pretty darn excited about hearing Captain Wedderburn and Ferryland Sealer too, first time for him with both of those songs.

Best Comment Award goes to Sean (though Alan's discussion of why the Metallica fellows are pansies comes in a close second) when he said in response to Alan's claims of potential kingship "If you become King, Murray, Bob, and I will form a coaltion and dethrone you." Priceless, and a great way to tell by crowd response just who has and who has not been keeping up with current events on the political front.

My own personal Fool Of The Evening Award is self-awarded. I know it is clearly none of my business, but every single time someone in the audience is encouraged up on stage, it always scares me. I know it's a matter of whatever person it is looking totally harmless, but looks can be deceiving and there could be someone less safe who gets ideas from the encouragement of that first person and decides to follow suit. Streaker Dude in Thunder Bay sure couldn't have been carrying any concealed weapons (no concealed anything for buddy, unless it was in a body cavity), but you just never know in general and I worry about the safety of the men up there on the stage. And, as I said, it is clearly none of my business. Not my stage, not my decision, not my place to criticise or scold. But it is still always going to scare me and make me worry about the safety of someone who is dear to me.

Speaking of which, the night before last on the bus, I woke up with a sudden start from an uneasy dream, peered out the window, and there we were, a few kilometers east of Surrey. There are some moments you just never forget, the kind of moments that make you face up to what you really think and how you really feel and how all those times you told yourself that if things got too bad you could always walk away were nothing but pure bullshit. Though I don't expect I'll be forgetting Streaker Dude doing the circular motions with his penis anytime soon, either, even less chance of forgetting all those wistful, wishful Right Guy longings his action provoked. And, just for the record, SD didn't seem to be feeling the cold, not while up on stage, at least. I imagine it was quite the different story once he got out into the frigid Thunder Bay night.  He probably felt like he had two lumps in his throat.

Right now I am looking out my window at a beautiful Vancouver day, sunshine and blue skies and so frigging rare here this time of year. Days like this one are a gift; it's time to go out and properly accept that gift. Today, we walk the seawall.

"This Is Here And This Is Now" - Calgary & All Points Beyond (Videos, Photo, Review)

Spectacular Alan

The YouTube embedding seems to be causing some folks trouble opening the page, so I may have to stop it altogether and go back to linking instead. I'm going to hope that having only two videos from the Calgary show will be small enough to make it alright for anyone who wants to open the page.

The Rocks Of Merasheen, Sean's Calgary solo.

Another Gorgeous Excursion Around Alan

Poignant Sean

Emphatic Bob

A Lovely Limber Rock Star.

Electric Dreams From The King

Sean's General Taylor left a few weak in the knees.

Sweet Penelope Lead Solo, Sweet Penelope Lead Guitarist

Irresistible, Irrefuseable Alan

The Calgary Great Big Sea show at the Southern Jubilee Auditorium was deadly, an unqualified success for them all. A solid set list, a receptive crowd, and most of all a fierce resolve to play this one for all it was worth made for an unbeatable combination. I still believe that if they try to keep up this pace over the long haul they are going to do some damage to themselves, but at the same time I am filled with amazement and admiration for what they are accomplishing. I hope everyone finds his own best way for rest and recuperation today. I hope the Flames win big tonight too, with a plethora of dazzling glove saves made by both goalies.

There is still a small cautious part of my mind that is reluctant to let my much less careful heart blurt this next thought out, but bold heart always wins out over wary mind in my world: I am no longer afraid of Calgary.

Which is not to say that I think myself safe from getting flattened here again the next time, or even later today, since my bus to Vancouver does not leave until this evening (it's the Greyhound Hotel for me tonight); hurt and disappointment can find each of us in any of the places we might be, whether we linger there or are just passing through. It's also not to say that the circumstances that have caused my own personal troubles in Calgary are all resolved and fine and dandy now. They are not. But they are getting better, and it is time to let go of the fear that gets in the way of choosing hope and believing in the potential of the future. Sometimes it is so much easier to see how far away we still are from where we long to be than it is to notice how much closer we have come to achieving that heart's desire than we were a few years ago. It is no longer July of 2005; this is here and this is now. And in this here and now, there is just cause and good reason for hope and belief and trust. As well as for love.

All of which will abide, regardless of what happens in Calgary, or New York, or Boston, or Halifax, or Cleveland, or London, or Dusselldorf. Or Seattle or St. John's. A step at a time, a day at a time, a here and now at a time.  A moment that we live for and we just can't live without at a time.  All the way to Heart's Content, as well as Heart's Desire.

And now I am going to get packed up, check out of my hotel, and go for a long afternoon's walk, getting reacquainted with the very lovely city of Calgary.

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Finally, a review of last night's show that I found interesting.

CanoeJam review of Calgary show

Jubilee Auditorium, Calgary - December 1, 2008

Band from The Rock on a roll

By LISA WILTON -- Sun Media

CALGARY - In the 13 years since their breakthrough album, Up, Newfoundland's Great Big Sea has gone from a madcap Celtic party band to a more sophisticated adult-oriented pop group.

Their most recent album, Fortune's Favour, was produced by the ever-creative Hawksley Workman and saw the band stretch its sound even further into rock and pop territory, with varying degrees of success.

In an attempt to move away from their reputation as that band you got drunk to in college, Great Big Sea's current tour has them playing more respectable soft-seat venues, such as the Jubilee Auditorium.

This may disappoint fans who have enjoyed an inebriated jig at previous GBS shows, but it didn't seem to bother most of the 2,400 fans who took in last night's two-hour concert.

The slightly more refined atmosphere of the Jubilee meant the crowd was kept mostly under control -- no wanton beer spillage that I could see -- but it also meant the band could better showcase newer material which focuses more intricate lyricism than brash, foot-stomping anthems.

Still, the audience buzzed with excitement and greeted the band with the loudest cheers I've ever heard in the Jube.

Founding members Alan Doyle, Sean McCann and Bob Hallett -- along with bassist Murray Foster and multi-instrumentalist Kris MacFarlane -- literally ran onto the stage.

"Calgareeeee," hollered Doyle, as they launched into their first song, Love Me Tonight, the lead track from their new album.

The song is as radio-friendly as they come and demonstrated Doyle and McCann's near-perfect vocal harmonies, finely tuned over the past 15 years.

Although Doyle pushed for the crowd to sing along, it seems most of them were not familiar with the song yet. That certainly wasn't the case with the next tune, Donkey Riding.

The a cappella song has long been a live favourite and it was the same deal last night.

Surprisingly, the audience stayed seated for the first few songs. But the first line of The Night That Paddy Murphy Died was too much for one female fan in the front row who jumped to her feet.

Within seconds, most of the auditorium -- at least the people on the floor -- were up and dancing.

The band played around with some of their hit songs, changing up the rhythm of the Oysterband cover, When I'm Up I Can't Get Down, featured on the 1997 album, Play.

Doyle and McCann hardly said a word during the first 15 or so minutes of the concert and it was noticeable. Half the fun of a Great Big Sea concert is listening to the bandmates hilarious banter between themselves and the audience. Thankfully, Doyle's motormouth revved up and he was off making wisecracks with McCann.

At one point, Doyle joked that the show was being lipsynched because, as he explained: "There's no way we could bust out these moves and sing at the same time."

He also made light of the band's drinking prowess, telling the audience that the last time they were in town (playing an intimate show at the James Joyce Pub to promote Fortune's Favour) they ended up owing the pub $126.

Although the band has been trying its hand at more straight-ahead rock and pop, Celtic is what they do best.

And that doesn't mean just the big singalong numbers.

The hauntingly beautiful England is a newer song in the Great Big Sea roster, written by McCann for the new album. It is more traditional English folk than Irish or Scottish-flavoured and is probably one of Great Big Sea's best tunes. McCann's rendition of it last night was a showstopper.

Great Big Sea may not be the coolest kid on the block, but there is a reason they sold out the Jubilee last night.

They're a crack live band who can turn even the poshest venue into a downhome Newfoundland kitchen party

.

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"The World Will Carry On" - Onward, To Calgary

Edmonton Fortune

ETA: Finally got Bob's Edmonton solo to upload (still working on Alan's Excursion To A Beautiful Belly). This is Sullivan's John.

Final ETA: The loveliest Excursion. No clue why the thumbnail pic isn't showing up (yet) - but the video plays just fine.

Whole-hearted.

Alan and his lovely Wayward Shirt (and monogrammed Rock Star guitar strap), Sean and his whistle. Run, Runaway - Edmonton show

Calgary Bound

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I am afraid of Calgary.  Not afraid of the city itself - Calgary is a very nice city overall and no one from Calgary has even done me any harm at all...on the contrary, the Calgarians I've met have been very good people.  Still, the prospect of spending a night in Calgary for the first time since July of 2005 - a prospect that's booked into my travel itinerary for tomorrow - is causing me serious misgivings and tempting me into checking out alternate bus routes, ones which blow right through Calgary tomorrow and go straight to Vancouver. Maybe even straight to Seattle. If you're going to turn tail and run, you might as well run as far and as fast as you can.

It isn't as if I didn't know this sudden desire toward destination change would be likely to happen by the time I got to tonight.  I've been saying for weeks now that going to Calgary this time would be an act of hope, evidence of a belief that there is some other option in Calgary beyond being flattened by someone I trust.  All of which sounds fine and dandy,  but, as is so often the case, it is far easier to say the words than it is to do the deed. I suppose I'd been hoping that perhaps something along the way would happen that would make hope and  belief in the future take precedence over the memory of hurt and disappointment in the past. Or maybe I was just putting off thinking about it until time ran out and I had to choose tomorrow's path. Either way, or both, here I am tonight, sleepless in Edmonton. 

And what I just this moment realised is the real reason why I am sleepless: Not because I need to decide what to do tomorrow but because I already know what I am going to do tomorrow. I am going to go to Calgary, which means I am going to be wide open to the risk of lightning striking for the third time in the same place. What are the odds? What were the odds of being flattened twice in the same place? If it does happen again, I suppose the advantage of having gone through the first two strikes is learning that what hurts like hell isn't necessarily the end of the world - that in the midst of the damage, love survives and discovers it can trust itself.

But I still don't care much for that "hurts like hell" part. And I am still afraid of Calgary. I'm just not going to let that fear keep me from going there.

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I don't have much to say about tonight's show at the Northern Jubilee Auditorium in Edmonton. It was a big crowd - sold out to the doors, as Alan says it - and a very appeciative crowd too. I have some good video, including a video of Bob's solo; they switched off the solo order, with Bob taking over Kris's spot, perhaps at least partly becauase Bob's Uncle was present at this show and Bob dedicates his solo song, Sullivan's John, to that uncle. My hotel for the evening has a pretty shitty connection, so I doubt I'll be able to get any of the video up tonight. Perhaps tomorrow or the next day. Perhaps quite some time for the photos.

That appreciative crowd seemed especially approving of England, River Driver, General Taylor and, as is becoming the new GBS-show custom, Dream To Live. Personally speaking, I particularly enjoyed Love Me Tonight, the Singalongs, and Penelope. It was also very nice to hear the living-room version of Sea Of No Cares. I'll eventually get the rest of the Edmonton videos  - the Singalongs, Excursion, and Dream To Live - put up here. It was good hearing Long Lost Love again too; I'd forgotten to mention that they did this at the Regina show too, playing it well both times.

Not necessarily performance-related, but far be it from me to refrain from saying that I thought Alan looked especially appealing tonight. Tousled and mussed go endearingly well with that wayward shirt of his. I guess I am not supposed to say that any more than I am supposed to say he is and will always be The Rock Star or how easy he makes it to say "Yes" or how wonderful he is, on this night as much as every night because being wonderful is who he is above and beyond what he does. Lesson #1 for how to become a lightning rod: Keep right on saying what you believe with all of your heart.

To some degree, I think that they gave most people in tonight's crowd exactly what was expected from them, which is to say that I think that to some degree they missed an opportunity to give something more and/or something different from those expectations. But then, missed opportunities are part and parcel of the human condition, none of us exempt from that one; God knows I haul mine around with me as permanent carryon luggage. Missed opportunities are a little like being struck by lightning the first or the second (or the third) time - it hurts like hell, to be sure, but it is not the end of the world. And in the midst of the damage, love survives and discovers it can trust itself. Then it is onward, to Calgary. As an act of hope and a demonstration of belief in the future.

If I can get the video of Bob's solo to upload, I'll edit it in here, perhaps even Alan's Beautiful Belly Excursion, given the speed of the connection. Otherwise, I'll try to get them all done in Vancouver. Or maybe even Calgary.