Sunday, July 28, 2013
Sunday Gospel Session (Island Stage, 10:30AM)
Whoever is concerned that church attendance is dwindling, should have seen the sight on Sunday morning. Despite the early hour and grey skies, the Island Stage tent was packed with festival goers in need of a little Sunday gospel – Hillside-style. A non-traditional “bring your own God” church featuring a range of performers including Martha Wainwright, Ruth Moody and Sarah Lee Guthrie, we arrived in time to hear spoken word poet Shane Koyczan dispel some inspirational words on heaven and hell – while still maintaining his trademark humorous side of course. Lindi Ortega’s voice then took over for a gut-wrenching and powerful rendition of “Amazing Grace.”
Wanting to catch some of the workshop at the Lake Stage we couldn’t stick around the entire time, but we moved on feeling revitalized and ready for the last day of the festival. There is something about the act of telling stories and sharing songs that builds a strong sense of community, leaving you feeling a part of something bigger, closer to the earth, and maybe even with a sense of spiritual awakening. It’s something I would highly recommend you drag yourself out of bed for.
The Loadout Workshop (Lake Stage, 11:00AM)
The Loadout Workshop featured Saskatchewan’s Young Benjamins and Toronto’s The Wilderness of Manitoba. Each having had a late night, the bands apologized for not planning much set-wise, sticking with the typical alternating songs back and forth. Luckily they already knew one another from a house show in Saskatoon the year before and their folktastic rootsy styles of music fit well together. Their fiddle power may have even encouraged the crowd to kick up their heels just a little, despite it not even being noon yet.
James Gordon (Lake Stage, 12:00PM)
Local James Gordon embodied the Hillside spirit of “sharing and caring.” The country-folk singer-songwriter was joined by his two sons Evan and Geordie Gordon as part of his band. Playing an enjoyable set, of particular amusement was a song called “Hey Amanda,” that described a hilarious one-sided telephone conversation Gordon had overheard, which soon had the audience howling with laughter. Also well known as the first artistic director of the festival, Gordon’s history with Hillside is long-standing. For us non-Guelphites, the experience was a special one, helping to strengthen our bond with both the festival and the city.
The Do Good Assassins (Island Stage, 1:00PM)
After grabbing ice cream sandwiches for lunch, we headed off to park ourselves down at the Island Stage for much of the afternoon. Up first was The Do Good Assassins, the side project of The Lowest of the Low’s Ron Hawkins (whom he had also played with the night before). Maintaining the fun pop rock essence of LOTL, Hawkins charmed in the audience with both their music and his humorous banter. Stumbling through the set and a forgotten capo, he was often poking fun at himself and his band. Playing songs from their double album Rome, Hawkins commented that only this aging band would record a double a record in the “age of single downloads” and promised they would sing it in its entirety to anyone who asked nicely after their set finished up. Despite the performance’s imperfections, it served as a great introduction to somewhat of a legend of Canadian rock music for all of the children there with their parents, while others chose to get up and dance.
Richard Reed Parry’s “Quiet River of Dust” (Island Stage, 2:00PM)
Multi-instrumentalist Richard Reed Parry of Arcade Fire and Bell Orchestre-fame treated the Hillside crowd to a rare performance by Quiet River of Dust, his collaboration with Laurel Sprengelmeyer (Little Scream) and Stefan Schneider (Bell Orchestre, The Luyas). They were also joined at times by Sarah Neufeld (Arcade Fire) on violin, and the legendary Dallas Good of The Sadies.
Quietly expansive and brimming with a multitude of enthralling sounds, the set often felt like we were being taken on a tour through the insides of this creative master’s headspace. The experimental “oddball” factor fit comfortably within the overall Hillside vibe. With no album or website, we felt privileged to have been a part of the experience, happy to be left with only the memories etched into our heads. Parry did however mention that he has also been writing songs with Good, so perhaps there will be something physical to look forward to!
Colin Stetson (Island Stage, 3:00PM)
Two-time Polaris Prize short-lister, “the man, the legend, the beast” himself, saxophonic prodigy Colin Stetson then took the stage. Knowing they were on the verge of something special, the crowd edged in closer for a better view. Jaws dropped immediately after he put mouth to sax, as the deep bellows that emanated from him seemed to mimic the mighty majesty of whales. Trying to grapple with thoughts of the air capacity required to last the astounding length of some of the songs in his repertoire was both stupefying and awe-inspiring. While his sound may not be fully appreciated by everyone, Stetson’s brilliant proficiency absolutely must be experienced live at least once – you’ve truly never before seen anyone else do what he does.
Sarah Neufeld (Island Stage, 4:00PM)
Also of Arcade Fire, pixie-like violinist Sarah Neufeld graced the stage next. Getting set to release her solo album Hero Brother, she indicated that her set would basically preview the record. With the bow at her command, the master held us in rapture as she through electrifying instrumental set that was both experimentally classical and technically awesome.
Before she could get too lonely on stage alone, Richard Reed Parry joined her for a gorgeous duet on “Forcelessness,” playing it together for the very first time. His saxophone left conspicuously on the stage after his set, Colin Stetson also came out for a number. Filled with heavy undertones fuelled by pedal-powered reverb, Neufeld provided a lesson in giving a modern edge to the classical violin.
AroarA (Island Stage, 5:00PM)
Duo AroarA brings together husband and wife Andrew Whiteman (Broken Social Scene, Apostle of Hustle) and Ariel Engle. With their debut full-length In the Pines set to be released in the near future, their set brought the poetry of Alice Notley to life, as the lyrics were all borrowed from her book of the same name. About a woman undergoing treatment for Hepatitis C, the song titles were all simply numbers and told haunting tales of her walking through the land of the dead. The quirky experimental aura of the two added to the twists and turns the guitar and bass took throughout the layered sound effects. At the forefront – and rightly so – was the lovely unique pairing of their voices. Donning a satiny hood that was rarely removed from atop her head, Engle was captivatingly spell-binding – perhaps never more so than in the starkness of her vocals on “#14.” Bringing some life to their set, when “#1” began with a sample from Bell Orchestre Whiteman sent out a thank you to Richard Reed Parry who was still hanging out in the audience. We’re excited to see what’s to come from these veterans of the stage as they embark on this venture.
The Wilderness of Manitoba (Lake Stage, 6:00PM)
Running through the rain back to the Lake Stage, we managed to catch some of The Wilderness of Manitoba’s set. While the five-piece led by Will Whitwham are city-dwellers of The Big Smoke, their harmonica-trilled, rustled-up picturesque folk conjures thoughts of the classic and timeless era of bands like America. The band released their latest album Island of Echoes last year but still reached back for many setlist favourites such as “Summer Fires” from their previous release When You Left the Fires. An additional set highlight was the opportunity for violinist Amanda Balsys’ crooning vocals to take the lead on “Carolina,” brought up from her old band The Gertrudes. The wintery and spacey “November” instilled a chill to the air before the band kicked up their heels for a whistling hoedown to finish their set.
Fucked Up (Island Stage, 7:00PM)
Hillside once again proved their cool-factor with a band you wouldn’t expect would necessarily be accepted at a “hippie festival.” In true Fucked Up fashion, frontman Damian Abraham was already shirtless by the time we rushed back to the Island Stage. Insanely packed with festival-goers of all ages, beyond the mosh pit of energetic youth it was great to see so many parents – particularly young fathers – there with their kids touting protective headphones to teach them about punk rock early on.
Displaying his matured side, Abraham declared Hillside as the best festival as he got to see his young son in a parade earlier in the day and then play a show. They also sent out a new song to all of their children. While the band has mellowed on many fronts over the years, they haven’t lost their edge. Their heavy yet melodic sound expresses lyrics that connect with you on a deeper, visceral level, regardless of age. Abraham still ended up in the middle of the crowd and encouraged the audience to yell along to “I Hate Summer,” sending it out to anyone who could relate to having being called fat or made fun of. Fucked Up also may have won the title of “Best Festival Moment of 2013” when Abraham’s son Holden joined the band on stage for set closer, “The Other Shoe,” lending some vocals from the comfort of his father’s shoulders!
The Walkervilles (Lake Stage, 8:00PM)
Comprised of Michael Hargreaves and Stefan Cvetkovic of the now defunct Michou behind the veritable singer Pat Robitaille, The Walkervilles were a match made in R&B heaven. Hailing from the border town of Windsor, their deep grooves exuded the heart and soul of their Detroit motown influences while still holding on to some syrupy and innocent sweetness. Also sending our hearts a-throbbing were their funkalicious choreographed shuffling dance moves straight out of the 50s/60s era.
The band’s debut record was done live off the floor and made in just eight hours. You can look for a video for “Please Baby Stay” coming soon!
Two Hours Traffic (Lake Stage, 9:00PM)
Next, Prince Edward Island’s Two Hours Traffic brought some of their made-for-summer pop charm to the night air. While the band’s sound has changed and evolved over the years since the release of 2007’s Little Jabs, there remain few things better than dancing along to songs like “Stuck for the Summer” and “Jezebel” with a light breeze blowing through your hair. As a special surprise, the band brought out their good friend Dan Griffin (ex-Arkells) to add some bumpin’ keys on a few of their newer tunes from Foolish Blood, including “Audrey” and “Meaning of Love.”
Just like the song “Magic,” there really was a sense of magic in the air throughout their set; Two Hours Traffic still stand as one of those bands that make you want to dance – even if you don’t normally ever dance.
Whitehorse (Main Stage, 9:50PM)
Our Hillside festival ended with Polaris Prize shortlisters Whitehorse on the Main Stage.The husband and wife duo joins the talented forces of Luke Doucet and Melissa McClelland. Their charismatic interactions created an atmosphere that was both intimate and a stomping good time. As we learned at the Toronto Urban Roots Festival earlier in the summer, a highlight of their set once again was “No Glamour in the Hammer,” during which McClelland uses an old phone to dispel a fuzzy far-away effect to her looped voice. In keeping with the family theme of the festival, Doucet’s daughter Chloe also came out and sang a song with them.
Growing weary, we opted to check out the merch tent and drag our tired bodies off the island early, unfortunately leaving too early to find out who all of the finale secret guests were. Till next year, happy 30th birthday, Hillside! | CD
buying shots for bands 
Leave a Reply