One of Canada’s great party bands is heading our way, and we’re giving away a nice little prize pack!

Hailing from Vancouver, BC, Five Alarm Funk is a 10-piece, high-energy band that is prepared to blow all your minds.  Get ready for an onslaught of danceable tunes brought together by punchy percussion, horns, and everything in between! On May 26th, FAF will be gracing us with their presence by putting on what is sure to be an infectious dance party that you don’t want to miss.

Luckily, Audioblood is setting up a prize pack that can get you into the party free. All you have to do is fill out the form below for your chance to win a pair of tickets to see Five Alarm Funk, plus a copy of their upcoming album, Rock the Sky.

Show Details: May 26th @ Lee’s Palace. 19+.

Photo by Ivan Otis

Daniel Romano took the stage at the Legendary Horseshoe Tavern alone, which was fitting because he was dressed like the Lone Ranger minus the mask and neck-scarf.  Romano donned a white cowboy hat to compliment his Canadian tuxedo, armed with his acoustic guitar with his name splashed in silver across the fretboard.  He broke the ice with a story about a humorous encounter he had with a self-proclaimed pool shark in his hometown Welland, Ontario.  “Ok, so what am I doing?  Am I doing all super sad songs or hokey-novelty songs?  I don’t really have any of those, so let’s just do sad songs.”  Romano appropriately warmed up the crowed before breaking into his finely crafted classic country songs about love, loss, heartbreak and redemption.

“Hey mister, don’t let it bring you down / A new love can be found / Just open up your eyes” Romano’s stellar writing skills are complimented by his piercing and haunting vocals.  His voice filled up the back room of the Horseshoe, making everyone take notice.  Romano’s music harkens back to a time when country seemed less produced, more honest, the kind of music that gives you that heavy feeling in your chest.  The music of Hank Snow (a Canuck himself) and Hank Williams comes to mind when I hear Romano sing.  Yet despite his music’s retro roots, it fits in perfectly in the present day.  Unlike back in Hank Williams’ day, Romano wasn’t trying to hawk Mother’s Best Cornmeal or the like in between tunes.

Romano’s songs seem to tell a linear story derived from his own life and country characters of his own creation.  One obvious major influence is his relationship with Misha Bower (of Bruce Peninsula), who a talented singer and playwright.  Romano’s latest EP is appropriately titled “Songs for Misha”, their’s is a very fruitful creative and romantic partnership.

Romano’s new material demonstrates that his skills at writing country tunes are only getting sharper.  He ended the set with a two-part tune.  Romano self-deprecatingly educated the audience on the nuances of his guitar playing before going to another tune about heartbreak.  Classic country fare, done in a classic country style, by one of the countries brightest young talents.

The crowd milled about as the stage was prepped for Justin Rutledge’s band, grabbing drinks from Horseshoe’s equally legendary bartender Teddy Fury.  Justin Rutledge came onto the stage with an air of confidence, his band already playing the opening to “Be a Man”.  Coming off a successful run in the theatrical adaptation of Michael Ondaatje’s Divisadero, for which Rutledge also wrote the music, he seemed very at home on stage; probably happy to be playing himself again in his own production.

Much of Rutledge’s latest album The Early Widows was based on the character Cooper from Divisadero, whom Justin played in the theatrical adaptation.  Ondaatje himself co-wrote much of the album with Rutledge, including the set-opener “Be a Man”.  A former student of English Literature at U of T, it is easy to see that Justin has transferred his love of books and poetry into his musical career.  Couple his literature leanings with an amazing ability to craft catchy melodies around his words, and you have another great singer-songwriter in the great tradition of Canadian singer-songwriters.

Rutledge grew up in a blue-collar Toronto neighbourhood called The Junction, and he looked the part on stage with a touque and white long-sleeve waffle shirt, like he walked off the set of On The Waterfront.  But unlike Brando’s Terry Malloy, Rutledge proved he was no “Bum” on stage backed by what he calls “the best band in Toronto”.   They rolled through Justin’s impressive catalogue of tunes.  Even though he can still be considered a spring chicken in terms of his musical career Rutledge has been in the business of penning tunes professionally since 2004.

Halfway through his set Rutledge called Daniel Romano back on-stage;

I heard this guy’s first record, and I said ‘there is no way he can top that’.  Then he put out his last record, it’s amazing shit I got some work to do.  He’s probably my favorite songwriter around these days, it’s a real honour to listen to his set and have him here.  So let’s hear it again for Dan Romano.

With that glowing praise Romano came back into stage sans jean-jacket, his bright orange cowboy shirt revealed; primed to play some cowboy tunes.  Together they played a couple tunes including a George Jones song “If Drinking Don’t Kill Me (Her Memory Will)”, Rutledge; “They don’t make song titles like this anymore, do they?”

Rutledge finished off that last part of his set with some crowd favorites, getting the well-lubricated crowd to sing along.  His attempt to leave the stage was quickly thwarted by the cheering crowd, calling him back for a three-song encore.  “I love playing The Horseshoe, because it’s like playing in a room full of your friends and still being nervous.”  One of the tunes he finished off with was a Willie Nelson cover – “Me & Paul” – he regularly plays with The Beauties at their Sunday night residency at The Dakota; “I can’t play Sundays at The Dakota anymore, cause Sunday nights at The Dakota mean I’m up until Tuesday morning.”

From that stompin’ tune Rutledge took it all the way down with his classic sing-a-long “Don’t Be So Mean Jellybean”.  I can safely say that I have never seen a Saturday night crowd at The Horseshoe be dead quiet at 1 AM.  But as Rutledge sang the first lines of the song, everyone stopped and gave him their undivided attention, as well as their voices.  Only the idle chatter of those around the pool table at the front of the bar could be heard between Justin’s call and the crowd’s answer.  As Justin’s voice faded away, the crowd’s raucous cheering rose.  Rutledge had no reason to be nervous, the room full of his devoted fans/friends approved of the his effort.  In the future we may begin to see Rutledge more acting in plays, or doing a reading from a novel or book of poetry he wrote.  But he will always have a home on a stage with a guitar in his hands, playing his music and singing his words.

On this particular evening, the opener was simply listed as ‘secret guest’. I didn’t know what to expect when it came time for The oOohh Baby Gimme Mores to take the stage. Melodic chaos is one way to describe this quintet of gentlemen. They were doing so many different things; a doo-wop tune, alt-rock riffs, dance hall drums, the occasional hip hop/anthem lead vocal tangent; but somehow, and with tremendous skill, remained magnetically cohesive. They pulled out all the stops to have an insanely strong rhythm section; complete with intricate bass lines. There were times that they seemed kind of all over the place; lacking a bit of structure, but only slightly. I couldn’t get over this drummer, Colanthony Humphrey’s energy; double time, heavy on the tom, he danced while he played for crying out loud!

So funny story; a friend of mine has this schtick; he likes to buy random CDs for people as gifts without listening to them first. He’ll either choose something based on cover art appeal, or musical style. He also likes to support local musicians as he is in a band himself. This past Christmas he randomly bought me The Army Girls‘ Close to the Bone EP. I ended up digging them from the get go–Carmen Elle’s voice is what won me over immediately. Her voice is deeply melodic, dreamily simplistic, serene and was so beautifully punctuated by jagged riffs and ‘poppy-with-a-harder-quality’ drums. Elle just leaks sexy swagger while she wails on her guitar. She had this kind of manic yet shy stage presence though she confidently played her riffs and played them well. The trend of amazing drumming continued through Army Girls’ set; Andy Smith played with a wonderful sense of urgency that was subsided by the calm tone of their set. Even their more upbeat tunes were elegantly timed.

HotKid took the stage promptly at 1am. This guy and gal duo are the poster children of this subgenre of danceable angry rock. Their varying level of energy was presumably succinct to their somewhat yin yang type of stage play which was engaging. They had an interactive art piece happening simultaneously to their set; projected onto a screen behind them is their band logo with, well lit, and liquid being poured onto it and manipulated as the set progressed. It was a pretty rad trip to watch that imagery behind them while their hard rock tunes rang through the joint. Sadly they were experiencing some technical difficulties but they powered trough and didn’t let it get them down.

Overall, every act in the line-up was complimentary to its predecessors in one way or another. Though stylistically there was variety, it worked well and the audience seemed to respond very well to it. I also thoroughly appreciated the set-up for drums this evening; Stage Left, up front. I was so glad that all of these talented drummers for the evening could be showcased so blatantly.

First up was Band 16: Snailhouse. It’s always tough being the opener I’m sure. Especially in a space like Lee’s that when it’s empty, you can really feel it. That fact didn’t get this five piece down though, they respectably powered through. Their strong harmonies and beautifully poetic lyrics were wonderfully accentuated by punchy half time drumming and lead guitar finger plucking. They seemed to have a wide range within their catalogue of tunes-something for everyone kind of thing, but not so much that their overall sound wasn’t cohesive. With more of a mature demeanor about them, their humility and graciousness was particularly notable for me. They’re the kind of band I’m pleased to see have the opportunity to play CMW.

Band 17: Sandman Viper Command. Their slightly punk rock attitude was balanced out nicely by their pop hooks and alt-rock melodies. They were definitely a pleasure to watch, and it was nice to see the crowd fill up for them too. Though there was very little banter, their set progressed at an appropriate pace considering the mood: home stretch night of a long festival on a rainy day, I mean really how would you feel? SVC’s undeniable zest for performing made everyone forget the crappy weather outside as well as any other woes that may have been lingering. The venue was such an appropriate size for their sound. They generated a well synced 2 part lead and higher than normal rhythm. Which kept it light and airy.

Band 18: Whale Tooth. Yes! A female lead singer! Don’t get me wrong, all the dudes I’ve seen have been stellar, but as a fan of acts like Metric, Yeah Yeah Yeahs and The Kills I get excited about a female lead. Elise LeGrow is beautifully charismatic. The magnetism of her performance was in full swing. Her male counterparts created a great web of musical support for her to give and take with. Their songs are all kinds of fun, and they’re clearly just a group of friends who don’t take themselves too seriously but still have a strong grasp on their integral sound. Apparently it was the drummer’s birthday! What away to celebrate: playing a show at Lee’s during CMW. The place filled up very quickly for this quintet and all eyes were on stage and conversations were hushed.

Band 19: The Inbreds. Considering the packed crowd/sold out show I was super anxious to see what all the fuss was about. Turns out that this was the first show they’ve done in Toronto in 7 years. That’d do it. Something has to be said about a band that still has a loyal following in a city they haven’t played in 7 years. To take the stage as a two piece after the three full bands prior to them could have cause for stress, but they played with ease and confidence. Their songs and performance had distinct layers and hauntingly beautiful tones. What a wonderful way to put a cap on such a strong line-up.

Ok Megan, focus on the music.

Band 12: Dinosaur Bones. These boys are no strangers to The Take or to the Toronto music scene. Definitely fall under the Dine Alone signature sound. Their quiet demeanor was intriguing as well as somewhat intimidating. The crowd was stand-offish (with the exception of the drunkards) but observant since the majority of their set was new. This dreamy, gentle alt rock can put anyone into a musical coma, and even though the crowd was filled with both quiet observers and rowdy folks, there was no denying that everyone was captivated by Dinosaur Bone’s performance.

Band 13: The Apache Relay. Last year, when I was starting to feel my ass getting kicked by the long nights and packed bars of a festival Paper Lions was the one band that picked me off the ground. I feel that this year, I can say The Apache Relay is who I can thank for that gesture. There are quite a few of them: two guitars, keys, bass/lead vocals, drums and the piece de resistance; a violin with a million pedals. By their fifth song, a jazzy rock ballad, I was completely won over. I fed off their energy as did the crowd. They had the appropriate amount of modesty and energetic flare. Also graciousness. Their strong harmonies, wonderful mix of melodic rock unity and off beat hooks were a treat. Overall intelligent song writing: giving credit to an audience without having to spoon feed them anything. Thanks for reminding me why I do what I do, boys.

Band 14: Chains of Love. Their showmanship on all accounts was respectable; great energy, everyone did their designated jobs well, and really who can’t get into incredibly attractive women who are sharply dressed and dancing up a storm? A stylistic choice of theirs was to boost reverb on vocals as high as they possibly could. In a space like the El Mo, with its brick walls and long layout, this made vocals very cloudy for me, which was unfortunate because it was distracting. They came off as a throwback band; possibly a tribute to bands/artists like The Angels or something of the sort. Their musicianship really captured that style wonderfully, but they may have cornered themselves by committing to this gutsy stylistic choice. If you played me one of their tunes and asked me if it was the first or last song in their set, though it would be enjoyable, I wouldn’t be able to tell you the difference.

I was able to end my night with a wonderful surprise. Turns out that the showcase’s TBA was The Sheepdogs. Word got out hella quickly once it was announced though; and The El Mo quickly filled up. Do I even have to say anything? A band that has achieved so much success doesn’t need my review; I am not worthy (bows in humility). Everyone who has heard them has made up their minds about them, and those that haven’t heard them, should! I will say this, Leot Hanson on lead guitar was a force to be reckoned with! He plays his solos with unbelievable ease. These guys have mastered what it takes to generate such a classic sound; bringing music back to its roots.

Band 7: Mimi Cry. Let’s not lie to ourselves people, we are a generation that still acknowledges that 90’s alternative rock was the shit. Raspy yet somehow pop style vocals with slightly distorted guitar and high hat filled drumming. Imagine that and you’ll have Mimi Cry. I have to admit I strolled in a little late for my night two adventures but was pleased with what I was able to catch. Nothing to these guys, just alt rock tunage rich with that sweet familiarity of our teen years. Though these guys did seem rather young, their sound was nostalgic for those of us in the proper age bracket.

I feel like double keyboards is something I’m going to come across quite a bit over the next fee days. Band 8: Fillagrove is band número 3 to support this observation. These guys made me think that there is a recent uproar in country-like rock bands lately. You know the sound I’m talking about; that sort of swaggery, seemingly southern, almost gospel influence type of scene. I feel like their first song was 7 minutes long. Now there’s two ways you can look at that statement: 1. I was so captivated by their performance that I was in some sort of musical trance where time seemed to stop. Or, not a whole lot was going on and things seem to drag on a little. You decide. I thought I had ‘me pegged after the first couple songs, then, by the fourth song, they whipped out this catchy, keys driven number that was nicely punctuated by a twangy guitar and a rough cut bass. They played a bit of a sloppy rendition of Nirvana’s “In Bloom”. The bass was somehow tinny-maybe that was a levels issue but it was an underlying issue that bugged me throughout the set. There were times where I could only hear bass and no guitar. Breakdown in their second last tune had an impressive key solo, followed by an intricate call and answer between guitar and bass along with a big finish.

Band 9: Parks & Rec. I first saw Parks & Rec about 2 years ago at Duffy’s Tavern (fun fact, it was the first review I was asked to do for The Take Media). Charles won me over then with his painstakingly melodic, pleading vocals. I love how they’re not afraid to play with octaves between guitar parts. Their dreamy, gentle melodies just held me in a serene state, I couldn’t look away. Their slightly more edgy breakdowns were all the more satisfying because of these serene build-ups. Their performance is so versatile that you could find contentment whether you were to dance along or just sit back and watch. They made me feel like I was on the verge of Summer, and that feels great. Finger picking is a lost art; it’s also something that these dudes are killer at. Ended on Barcelona after taking the time to thank the promoter, Dan Wolovick, and the volunteers–calling them the lifeblood of the festival and his captivated audience.

Band 10: Jane’s Party. This is my 4th time reviewing Jane’s Party. I had the luxury of creating my own schedule for CMW this year and not even a word of a lie, I made my Friday night sched revolve around being able to catch these guys. Everyone should see them live at least once. The songs are lyrically relatable and wonderfully accessible. They just know how to make a crowd swoon and give in to the toe tapping fun. Everyone seemed to be calmly captivated. It pains me to say it but, comparatively to their EP release at the Horseshoe or even their NXNE performance there was a bit of a disconnect between the band and the crowd. A noticeable lower level of energy as well. Regardless of such they still owned the stage for their set.

Band 11: Honheehonhee. If we handed out fan favorite acknowledgements for CMW, these guys would likely be on a number of fans lists. The individuals that packed the floor at Rancho are just a testament to that. First song was apparently (and evidently) unfinished but they were far too excited that they just had to share it with everyone. They are certainly a bunch of characters, with epic facial hair and funny tees. This is my first time seeing them live. From Montreal, and were clearly very happy to be here. They are so fun and so full of energy that you can’t but help let loose. Had my first Korg sighting at the fest with these guys. They had such a sense of humor about them that just put the audience at ease and created this sense of comradery between the band and audience. Lots of fans, lots of sing-alongs and dancings (yes, dancings). They are no strangers to building a relationship with the audience that clearly loves them so much. Their level of energy seemed to be magnified because of their calmer predecessors, but all and all they still fit perfectly into the billing for the night.

I started off my first night of cmw at The Piston for Sound of Lions. These guys (and gal) are quite the band, playing an eclectic mix of musical stylings. There is something to be said about Whitney Delion and her soulful vocals–they lure you in. Songs driven by heavy bass lines and punchy beats, while complimented by atmospheric guitar riffs and Christian Awad’s sampling and keys, complete a sound that will leave you entranced.  Sound of Lions is such a refreshing sound that the Toronto music scene could really use.

Next, I made my way to the Cadillac lounge to catch Carleton Stone for the first time. I had been listening to him on repeat as of late, so I was pretty excited to see what he was like live. I was not disappointed. Carleton and the band put on an entertaining set, to say the least, playing songs filled with stories of love and heartbreak. The mood was lightened by Carleton’s stage banter, getting chuckles from the crowd as he threw out jokes about Johnny Reid’s impeccably white teeth and prefect tan. If you have a chance, be sure to check out Carleton Stone throughout the rest of the festival.**

**Today @ Sneaky Dee’s, 4:20PM: AudioBlood ECMA Showcase//Today @ Cadillac Lounge, 1:00AM//March 24 @ Rivoli, 1:00AM: Nova Scotia Showcase

Anyway! *Band one: Dan Kosub + Cross Lads. I’m a sucker for a band that mixes acoustic guitar with electric. It generates such a lovable give and take. These guys had the perfect tone to ease me into the gong show that is my next 4 nights. Easy listening pop rock tunes, with beautifully melodic lead vocals. These guys had the appropriate stage presence to accompany their sound. There is nothing wrong with pop rock, ok? Our borderline pretentious outlook is blinding us from countless outlets for good music these days. It’s not easier or harder to play any specific genre of music; working hard is working hard, damn it.

Band two: Bella Clava. OK, there was a lot going on here. Double keys, triple harmonies. Craziness. Lead singer, Caitlin Dacey’s voice can hold its own, so I felt as though the amount of backing vocals was a little heavy, therefore distracting. Also these folks fell victim to structural repetitiveness within their songs. Sadly, their performance didn’t hold my attention. They didn’t seem into it, so it was hard for me to get on board. It was evident that they have sizeable group of fans, considering how quickly the joint filled up for them. Maybe they were just having an off night? By the end of the set I wanted to ask them if they even wanted to be here. If your own music bores you-you may want to take a moment to reflect, or at the very least try not to let it show while performing.

Band 3: Gloryhound. Spastic rock should be a genre. These guys can spearhead the hell out of that movement. A lot can be said for any musician who can be all over the place and not let their musicianship suffer. Unison solo in the second song? Way to set the bar and establish yourself all in one go. I can appreciate any guitarist that will play cleanly and not hide behind distortion. This particular style of guitar is something that no one uses anymore. Let it wail boyos, let it wail. Nothing fancy just 2 guitars; sharing lead parts, vox with the occasional harmony, and a bass that cooperates so well with drums for a well supported rhythm section. There was enough variation in the tunes that made them all independently defined and enjoyable, but not so much that the tunes were not cohesive. The subtle hooks that were executed by the drums were impressive. He had a cowbell for Pete’s sake. Also appreciated; a big finish: people are here to see you-let your performance linger don’t just end it abruptly.

Band 4: To Tell. Mmmm feels like high school. Well, for me. I’m old. Simply: pop punk with piano. Turns out these fun-lovin, friendly humble dudes are from London, Ontario! Clearly only good things come from London (I’m from London). I was a little put off by the dub step intro. The stubborn reviewer I am, I crossed my arms and thought, “Uh oh, they’re playing into what’s ‘in’ right now. I bet they can’t- guitar, bass and drums start up-oh wait, that’s catchy. Nice!” I can’t help but wonder if the fact that both guitar and bass were of vintage appearance was done on purpose or not. Brought out the girls and got ‘em dancing. Nothing beats when a band clearly loves performing. There isn’t anything particularly intricate about their riffs (with the exception of the occasional drum or piano fill), but that doesn’t stop them from going big. They ended as strong as they started. Their melodies in general were rich with hooks. Lead singer Zach Haven, had a wonderfully humble energy about him and didn’t overdo his key playing. I feel compelled to mention the fact that the bassist was wearing a ‘Blink 182: crappy punk rock’ shirt. They made fun of their use of sound bites (they asked the crowd to applaud the invisible trumpet). Again, a big finish. Thanks boys.

Band 5: The Ascot Royals. Disclaimer: it’s midnight and I have beer and cigarettes in my system. I’m now lost in a sea of dancing fans. I’m short therefore I can no longer obtain visuals. These guys know how to grab a crowd by its balls and gingerly twist and cup to get them where they want to be (forgive the analogy, I blame the beer). There was such a broad spectrum within their sound. There is an apparent confidence in their performance that justified the scope they have created for themselves. There was a maturity about them that illustrated their skill as established musicians, but not in an uptight way – they were clearly feeding off the crowd energy they themselves generated. Nothing overpowered anything else. They were quite good at manipulating the builds and drops in their tunes. These builds and drops were exquisitely accented by piano fills. Throw in some melodic lead guitar riffs and you have something yummy. Lead singer, Jimmy Chauveau fully submerged himself in the crowd to lead a sing along during the last tune; this was too much for the crowd who demanded an encore as it ended. Sadly, they could not oblige and left the crowd hungry for more.

Band 6: The Bright Light Social Hour. OK, so personally, at this point in the night I’m a little harder to impress; I’ve been on my feet for 5 hours, I’ve seen 5 bands, and I’m realizing that I have to be at work in 9 hours. It’s gonna take a few things to a) make me stick around and b). Not be grumpy. You need to be engaging. You need to dare to be different. You need to be high energy and show me something I haven’t seen tonight. The Bright Light Social Hour did not fail to deliver on all accounts. Imagine old Coltrane inspired bass lines with classic rock riffs, throw in some organ style keys and you’ve got a reason to stick around the Horseshoe Tavern on a Wednesday night at 1am. And many did, it was a full crowd til the bitter end. Did I mention the key-tar? Yep they had a key-tar. Mind=blown. These boys hail from Texas, and brought something new to our Canadian festival. Let me paint you a picture: imagine fictional rock band Stillwater from the 1998 flick Almost Famous. Now, picture that band rocking out to Motown-ish riffs. I mean rockin out: hair-flying guitars soloing on and on and on brand of rock. Epic right? I think it’s safe to say they made love to each of their instruments and to the crowd then sang their hearts out about it.

*I’ve decided that this year I’m going to preface every band I see with the number of which I am seeing them. That way, by the time I get to like band 13 you’ll understand why I may or may not be harder or easier to impress.

Closing night was (fittingly) hosted at the on-campus pub at Durham College. Sure, the campus is a little out of the way, and as an extra-added challenge the event was on St. Patrick’s Day. But regardless, a sizable crowd was in attendance. Not as large as some of the students had hoped, but all things considered it was still a rad time.

The line-up of bands was beyond stellar. The night kicked off with Dirty Nil, followed by The Sweet Mack, Teenage Kicks then closed with Topanga. Yep, nothing short of amazing.

Dirty Nil was a ball of energy that just smacked onlookers in the face with their bigger than their bodies stage presence. Their highly addictive riffs drew the crowd in instantly and lead singer, Luke did not shy away from going for the gold with his extensive vocal range. It’s nice to just see a band not give a flying fuck about what their audience could be thinking. This is just one of the things in general that I love about out of town shows: the judgmental eyes of the big city aren’t looming over a band so harshly that their performance suffers.

If you ever get the chance to see Sweet Mack live, do it. Just do it. Particularly if you’re a fan of bass riffs taking on a lead presence in tunes. I’m a sucker for a danceable beat so needless to say I was a fan. The ensemble attitude established by these dudes supported their harmonies and carried the flow of their entire set. The rhythm section is what makes this band what it is; classic undertones slightly manipulated by kick-drum heavy, surfer style beats. The band as a whole successfully combined classic rock fundamentals with that signature Canadian rock sound.

If any of you are consistent readers of The Take, you’ll know that I’m not stranger to reviewing Teenage Kicks. Here’s a quick run-down: I’ve reviewed their last two albums, plus their EP release party at The Shoe back in Summer 2011. PLUS I had the pleasure of sitting down with Jeff for an interview before that aforementioned show. I’m running out of things to say about them! They did not fail to deliver at this show. Peter was everywhere at once, as usual. Their energy and tone were in keeping with the whole line-up for the night. Some on-lookers were curious as to why they weren’t the headliners for the show, but among the musicians there was never any sense of any animosity.

It’s been a year since I first saw Topanga live. I was hooked since that faithful second night of CMW2011 at the Silver Dollar at 2am. These guys are just fun; as people and as musicians. They all clearly love what they do, and love that they’re doing it with each other (ok, that sounded dirtier than anticipated). All jokes aside, Topanga knows what it takes to make an impression with every performance. It goes to show that comfortability with each other can go a long way on stage. They are gracious, humble performers that know that you can’t just depend on the music to get your point across during a live show. Though really, their tunes are really effing good so everything else they put forth is just gravy. Their music is what the indie kids are feeding into their ear holes right now, and has the stability to be timeless I’m sure.

Topanga ended their set with a whole whack of covers and invited members from each of the bands that played before them on stage to sing along (with the exception of The Dirty Nil since they had to leave early on); starting with Weezer’s “Surf Wax America” with Peter from Teenage Kicks on vocals. Next was Gob’s “I Hear You Calling” with Adam from Sweet Mack. Everyone came on stage for their closing number “Last Night” by The Strokes. I lose my shit whenever bands do this at the end of a night, I wish this happened more. The crowd was good and sloshed by the last few tunes so everyone was in high spirits and loving life. Happy Paint Satrick’s Day, Durham.

See more photos here.