Bluebird North 2007
Date: November 10, 2007 This Voice is Running in Circles The Songwriters Association of Canada delivered an unusual performance when they brought five singer-songwriters to Ottawa to share the stage at a hall in the Delta Hotel. The ambiance was certainly intimate as the players rotated through their songs and told stories to the small crowd. All of the performers were on stage together and the format was cyclical. Each of the four lead artists played a song in turn; and the night was divided into two equal sets, with the group taking a break after they had each played three songs. Special mention must be made of Keith Glass, of Prairie Oyster, who backed up each of the other players with his own guitar work and singing, sometimes improvising subtle accompaniment and occasionally displaying his great lead abilities. He also got one chance to take the spotlight and play a song of his own, which was appreciated. The host for the evening, and the opening singer, was Christopher Ward. Ward is known for his pioneering television work, hosting a video show even before helping to launch MuchMusic, so he was a suitably comfortable MC for the casual evening. He also set a fine tone for the concert with his playing. Although his songs were not as captivating to me as those of his companions, he was a decent performer; and it was interesting to hear him end his evening with "Black Velvet," a song of his made famous by "Black Velvet." The second singer of the night was Russell deCarle, whose extremely laid-back demeanour could not mask his sharp wit. Naturally, he matched perfectly with his Prairie Oyster bandmate Keith Glass, in terms of singing, playing, and cracking jokes. DeCarle's distinctive voice was the most immediately notable aspect of his portion of the night; and he never faltered in that department. Equally impressive, though, was the variety of styles that he exhibited over the course of a half-dozen songs, making each of his turns a treat. DeCarle's obvious ease on stage was no doubt a product of several decades of playing. In contrast, Pascale Picard seemed as wound up as you might expect from such a young performer. However, she was able to put that energy to great use, showcasing a stunning voice whose power I had not expected after her shy, French-accented introduction. Picard thrived in front of the attentive crowd, with songs such as "Smilin'!!," "Gate 22," "Unconscious Liars," "A While," and "Half Asleep" each conveying a story and a mood. She also helped illustrate the goodwill that was present between the musicians. After breaking a string at the start of her last song, Keith Glass was quick to offer his in replacement. When Picard promised to be gentle with it, Glass immediately shook aside the idea while Russell deCarle chimed in with, "Treat it like a rental." In the end, Picard was the discovery of the night for me; and I went home with a copy of her CD, Me, Myself & Us. The headliner of the night, and the reason that I heard of this lightly-promoted event, was Jason Collett. I had seen Collett play with his band in each of the past two years; but the opportunity to witness a stripped-down approach was also interesting. With his next album not due until February, Collett offered several familiar songs on this night. His crowd banter varied widely, introducing "Almost Summer" with the first long story of the evening, asking an older lady in the crowd if she was familiar with the phrase "super toke," while later leading into "Hangover Days" with a single sentence. "Parry Sound" also made the cut from Idols of Exile, while the sex-themed "Diggin' in the Carpet" had Keith Glass asking what the inspiration was for writing that song. Collett also looked ahead to the new album, albeit through a pair of songs that have been percolating long enough that I heard them before, "No Redemption Song" and "Waiting for the World." Collett seemed very hesitant in introducing the latter, which closed the show, questioning Canada's military involvement in Afghanistan on a night when the performers had donned Remembrance Day poppies during the intermission. All in all, it was an interesting and unusual performance from an artist I quite enjoy. While Jason Collett's name drew me to the Bluebird North event, and he certainly delivered, the night was truly a success on the strength of the collaboration. Christopher Ward and Russell deCarle were strong players, Pascale Picard was amazing, and Keith Glass formed the backbone to an impressive concert. <--Prev (Magnolia Electric Co.) | Next (Cuff the Duke)-->Return to Concert ListReturn to Main Page |