October 6, 2001 - Roy Thompson Hall, Toronto, ON Posted By Buk Wreck in RTH, As you all have so wonderfully written, it was an extraordinary evening. So many nice people, such a classy performance. Power and grace! First off let me thank all of you for such a stellar batch of reflections on the evening. All the set lists and impressions just bring the evening back to my fading memory. As always I apologize for the length of this crap. Maybe I should have posted in small chunks. If you attempt to read this it will take approximately as long as the ACTUAL EVENT. Read along, play the CD versions of the songs, flick the lights on and off and have one of the neighbor's kids climb on the drapes, stand on their head in front of you and it will be JUST LIKE YOU WERE THERE! Mouse, as always, you are supportive and encouraging, so if anything it's all your fault. My wife, Betty, and I planned this trip as a wedding anniversary trip since our first is Oct. 20th. We apologize for having such a brief stay at E&C, things looked like they were just heating up. Betty's kinda shy and since you are all so young, we felt that the last thing you would want was to have "one of your parents" at the table. The anticipation of meeting mysterious emailers was killing me. Who knows how anyone will react? I felt like a total geek before I approached the table. I have no idea what I even said. Jezabel, thanks for organizing the dinner, sorry we didn't talk much. Julia, you are very sweet. Thanks for hanging with us at the show and welcoming us over to the table with such a friendly smile. Your friends, Steve and I don't remember his girlfriend's name, were enthusiastic and just precious. For God's sake he was brought to tears during the first set. How much more psyched can a fan be? Fender, you are by far the most "hooked up" of the boarders. Great to hear that you enjoyed the show. Ashlee and Daryll, it was nice to meet you also. Daryll thanks for introducing me to Fender (I'm sorry I forget your real name) you are wise and experienced beyond your age. And last but not least, Bender, you are all that the girls purported you to be. What a mush!(That means he's huggable) When I went back to the bar after my initial stammering at the table, you came to smoke a butt and welcome us. It was a pleasure trading bits of info about the band etc. I wish I could have seen you at the show or after to get your impressions. You all treated us so nicely. Mouse, regretfully, I missed you. Since you were the only face I knew, I thought that I could spot you in the crowd. Even though so many have reviewed the show I always await your take. Lydian, Simon and all the other respected BW messegrs it would have been a pleasure. The rumor (I wish that I started it, but it took so long to write this shit, that someone else thought of it) is that the flabby, shirtless one was SIMON! He did say that he had front row! On to the review (thanks to Ashlee for the setlist) For the audience that couldn't experience the event, let me say that the RTH is a WAY classy place. Not very rock-n-roll, but you can get the beer-stanked-crowd-bumped stupidness at pretty much every other place that the boys play. It is a very modern, superb sounding round hall, without a bad seat in the house. Comfy chairs with stepped seating for a mostly unobstructed view. From the outside it looks like a big glass Jamiriquoi hat. It is much bigger than I expected. I think that the crowd was for the most part too intimidated by the sanctity of the place to act like headbangers, hence the reaction of some that the crowd was dead. The lighting was really cool and the set although understated (except the duMaurier banners),, was very effective in focusing the attention on the band. You just had the notion that this was a very special evening from the start.. "By The Way" by the TSO was such a pleasant surprise. It worked perfectly to set up the mood. I was hungry for the whole tune! I fully expected from the reviews written about the Windspear that ILMO would be featured in the first set. As they approached their positions on the stage, all dark and dramatic, the familiar chiming acoustic of "Undersold" rang out. The strings complimented the song very subtly. A little lift here a bit swelling on the chords. It felt very full and muscular. A little quiet at first, but these classical music guys always have a plan – it could always get louder as the evening progressed – what a concept! The breakdown at the end was with total string accompaniment and boy did it ever get funky. The audience went nuts (in their seats). Breakthrough, probably my favorite song on the CD was next and it took me by surprise. First off, when my wife and I were wandering around the RTH at about one that afternoon, we heard rumbling guitar coming from the hall. The sound was escaping from the loading dock area out back. As we got closer I realized that it was Breakthrough, Ian solo, probably a sound check. The BW geek that I am I wanted to go down and weasel my way side-stage and watch, but my wife wouldn't let me. Somehow what is appropriate for a teen is no longer for me. I need reminding sometimes. We stood and listened till the ending crescendo. My expectations at that point were off the scale. Cut to the performance that evening. I sooo wanted this later in the show, so that somehow I could be warmed up. Nonetheless it was powerful, emotional and fully rendered with the TSO. The 20 or so violins of the TSO carried the "Dear Prudence" calliope-like synth part in the middle and it really melted in your mind. I wish it could have gone on for two more bars. I always want to hear "Thank you! Goodnight!" at the end 'cause it's such a big finish. And it was only the second song. My wife is givin' me looks 'cause I'm singing along. (I can't help it). It also seemed to me that the band had really broken through. Ask and you shall receive! Knee Deep, with a really sincere Ian intro, benefited from the TSO treatment since the mood and flavor is very soundtrack-like. The little piano thread was missing – replaced by the string arrangement. Very cinematic. Mistake was probably the most appropriately filled out by the TSO. I'm not sure the reason for the "This One's for my Dad" comment. Ian shared that he used to come to the RTH as a young boy with his dad, just previously, I don't think that the sentiments of the song applied. The vocal harmonies, emotion and passion were overwhelming. The countermelody of the keyboard provided by the TSO swelled to the breakdown. "I've never been lost…" just Ian solo with those beautiful pipes, Brian and Dave stepping up, the strings building, the band kicking in, "Always pulling on the threads…." It was just too much. It puts such a glorious spin on the melancholy lyric. How can you not be moved? Just a comment about Ian. Think about the package (no, not that!) Good lookin' guy, self-effacing personality, multi-level lyric writer (that takes into account the current commentary on the serendipitous nature of writing), a vocal range that effortlessly encompasses the best in the business, composition skills that actually overshadow his ability on the guitar, and last but not least his absolute virtuosity in solos! I'm convinced that for the mass market he is just too much to digest. Off goes the TSO, on comes Eric Johnson. Look What I Found, my favorite from years past, and a ripping guitar showcase blasts up next. Brian and Ian are properly reverential to their hero, a guy that Ian says they've been ripping off unsuccessfully for years. I thought that EJ was a little low in the mix and as the boys gathered around him in "jam motif" it was tough from my seat to tell who was playing what. I am used to LWIF as a bravado-driven slide guitar rave-up piloted by Ian front and center. EJ was the focus and I think that without time to warm up, not to mention the fact that his delicate play is sort of, in my opinion, not muscular enough for LWIF, he was under whelming. Maybe it's just his style, but I think that Ian is a more moving and inventive guitarist. On paper this track was the shit, but live, it didn't live up to it's potential. I guess I'm just a jealous fan, and I want Ian the focus at all times, just because he carries it so well. Then again, I'll have to listen to the broadcast to confirm or disprove my initial impressions. It was no surprise to me that West Virginia, the most "player" friendly track on TPAG was next. That guitar run is such a cool Dixie Dregs – Steve Morse, hell for that matter, Eric Johnson, WCOD riff. . . it was perfect. A much better fit for the EJ/BW connection. It just streaked by, but Eric Johnson certainly showed off some tremendous chops. That Song was the most emotional performance of the night, for me. I remember my first time hearing TS, in a local beer joint in NJ with the eight other people in the crowd and thinking that this song is a fan anthem like no other. I imagined the day I would hear it amongst the multitude, everyone singing along, that communal sharing that satisfies the human soul so. And this was my vision come true. I can only imagine the feeling that the guys must have, from concept sketched out on an acoustic six string to a fully fleshed out, audience engulfing emotional experience. I had tears in my eyes, for the pure joy that was obvious the boys enjoyed and the absolute gift that I got to be there to share it. Weep, weep, weep, weep, weep, weep – I am a girly-man. I don't care – IT WAS AWESOME! Back come the TSO, and Oh MY. What a surprise! That full hand-slapping bass that Dave does in the beginning was so cool. Full bore, BW deep noted performance. The "who would ever believe and why" part was symphonically lush. Overemphasizing was nothing short of Zeppelinesgue. Ian actually reminds me a lot of Page. Ian is more consistent than Page but has that certain somethin'-somethin'. His solo was both powerful and lyrical. This song expanded a bit for the solo part and is one I can't wait to hear on the broadcast. Watching Ian amongst other guitarists really brings out the generosity he possesses. Page when I've seen him amongst the best, (with Clapton and Beck and 27 other musicians back in '88) became the show's conductor and assumed a very tasteful support position adding incredible flavor and that intangible personality to the mix. Ian was this and more throughout the night. And the show was only half over!!!!!! After a short intermission, where we left and felt like the upper crust music aficionados we were this night, sipping wine and discussing the musical nuance. Not once did I feel like puking, punching or pissing on any of the facility. Incredible! Back to the show. After an odd mix of Harpist/Opera-diva and gravity defying musclehead, with only minimal crowd heckling ( yeah you'll make it into the broadcast – and ruin the recording. Are you satisfied? Douche!) The boys came back for an acoustic set. Excuse my ignorance, but Paul Langois & Robby Baker of the Hip were not guys I was familiar with. Ease My Mind followed with a lot of technical difficulties. Paul's mike was inoperative and the acoustic mix was rough. At the risk of being flamed I thought the Hip guys added very little to the show, musically. The crowd obviously disagreed. The audience roundly cheered every move/sound that these guys contributed. The joy of the song definitely carried the mood and bad mix and tech difficulties be damned it was great. Ladylike was next, and was totally unexpected. Could it carry acoustically? It's such a twisted "Crossroads-style" roots riff. Does it need that high impact clarity of the electric guitar? It would have to be handled differently, and it was! It seemed that all the tech problems were solved and the delicacy of the track could come front and center. I think Brian played banjo throughout and the guys really seemed to enjoy themselves. I can't remember if the final tumbledown shred was included, but it was nonetheless a very interesting jam. What followed was a complete surprise to me. Under The Lighthouse, I had not heard since '97 and was just extraordinary. Bobby Baker played the slide parts on an acoustic guitar on his lap, and Paul had what looked like a dobro (one of those steel bodied guitars. . . I don't know). Ian's vocals just kept getting stronger as the night progressed. What it sacrificed in power it gained in emotion. The Hip were drooled over and the next segment began. The Taiko Drummers were really cool. They incorporated most modern rhythms, from rock to 40's style "Drum Boogie", all while maintaining a martial arts/dance presentation. Two guys and one girl, all around a 4 ft. high 3 ft round drum w/ 3 large "toms" behind each member. Very complex synchronized moves and very powerful. It's weird how just drums can get you so pumped. Back come the band, Taiko remaining, and Ian w/the doublenecked, peals off the intro to Inhale. Off comes the roof! Forrest was grinning ear to ear. The chemistry between the drummers and the band was palpable. They were really diggin' each other. Taiko was extremely disciplined and no matter how simple their involvement was at certain points of the song, they never missed a beat, and preserved their dramatic presentation, pausing sticks in midair, frozen 'til the next crescendo. What could top this!? Surprise! Between You and I, with the simple tension-build/release structure, to the beautiful sweeping "Ohhh you'll confide….." After each drumming riff, the Taiko's would freeze, until the next section, which all added to the tension/release mood of "Between". A tremendous blend of lyrical/musical/dynamic symmetry. The song actually built throughout to the Zep influenced run at the end. With hardly a breath in between, it was balls to the wall. Fall Through The Cracks, with its simple Indian tom tom drum rhythm just exploded! The rhythm was so fat/thick that when Ian laid that tasty riffage over the top, I don't know if I'll ever be satisfied hearing this in a small venue again. The lights, the choreography, the grinning mood of the players, the place was literally throbbing. The setup for Ian's solo was perfect and he truly outdid himself. There was passion, speed and precision in abundance and this song may be more than all the others is one I cannot wait to hear again. The audience was on its feet, in a night of behaved opralike participation. The boys were stoked. More than anything it was obvious that this evening was a thrill to them more so than to us, if that's possible? Back come the TSO and the song that I have been waiting for all evening, with a whisper, begins. Defined By What we Steal is such a moving number, even if, for the life of me, I cannot decipher the lyrical intent. The intro was patiently built up layer upon layer. The lighting was very subtle and in great contrast to FTTC before. I think it was an orange glow. The strings and the harmonies during "when the lights are low…" were very soothing. Forrest pulsing out the "island" shuffle with proper style and grace, undulating like the waves on a tropical shore. It was more fully rendered than on the CD, if that's possible. The change-up to the first waltz-like chorus had me swaying. The flutey ethereal section, done on strings, was a sweet respite to build tension. Ian sang like an angel, leading up to the third chorus and then up the Queen-like rave up "so what if I float…". So over the top! I loved it! I didn't want it to end. I wanted to rewind like I do with the CD, to hear it all again. It was like great sex, built to the big "O" followed by that tender afterglow jazzy part with Eric Johnson taking some tasty leads. Ian and Brian were like two little kids having their dreams come true. This was the best that EJ sounded, yet I feel sympathetic to the constraints of having to plug in, step up and deliver with little or no warm-up. I'll have to listen to the Broadcast, where I'm sure they'll pump him up in the mix to great effect. Standing ovation (how could we not!), Prayer, always one of my favorites, slides into gear. The strings did all kinds of interesting little flourishes, besides carrying the counter melody. The little sing songy kiddy "dooo dooo da doo doo" section really stood out in contrast to the full orchestration. The band was looser than I had ever seen them. The Oaf, with the Taiko drummers was bombastic. Ian did less of the guitar noodling than he does in the small venues. The place was bouncing in their seats. The harmonies were great and Ian's freelance vocal changes cut through the expected. Ian also has all the rock-star swagger that comes so naturally to him. That left leg swings about, he shimmies, he shakes, he pulls the neck of the guitar skyward, bends notes along with his body for God's sake, if he lost his voice this guy could easily be one of the greatest guitar players. It's been noted that Ian did a riff of ACDC's Back in Black but I don't specifically remember it. It would be par for the course, cause the band was in such good spirits. After so many highs the concert could have ended there and I'da been ecstatic. Blown Wide was the true show stopper in a night of tremendous power. It was the full ensemble directed by the maestro Ian himself. The drumming was sooo powerful, and the guitar riff was thunderous. I have got to own a recording of this and pump it through the full wattage of my home equipment to re-live this event. The Taikos were smiling ear to ear. Watching the members of the troupe interact, smiling, nodding never missing a beat. What a rush!! A standing O, a momentary break, and on to the encore. Head In The Girl, a song that really needs massive dancing was a strain to enjoy. I just love this song but I was just too distracted by the music hall restrictions. I wanted to dance and sing! I think that this was when Ian sang out some call and response type blues things that he does so well. He also did some Jeff Buckley lines, even though it sounded like some obscure Hendrix, (Waterfall) off Rainbow Bridge, maybe. Either way it showed Ian at his most passionate and tender. It reminded me of the solo section that he used to do back in the day. Just Ian, himself that voice and some blues licks. His talent is supreme and God given. "A little six sting masturbation" was the intro to Immigrant song. "A song by someone else, so we know it doesn't suck." This coming from a guy who I think is one of the best composers of the modern world. He's too self-deprecating. Zep's protean Viking war song was sung and played with the abandon of little boy imitating their heroes. There was spotlight solo after spotlight solo. Ian being the charismatic, always generous band leader. Right 'til the hand signaled downbeat crescendos at the end. This band will be world famous someday, no doubt! This was just the beginning. In the words of that famous BW'er Ashlee, " That was the greatest night EVER, no concert will ever beat that". Or as my wife summed it up, "THAT was GOOD!" And if any of you have made it this far, one last thing. In light of the last months events, please remember to understand and appreciate the gift that this life is! From someone who squandered a great portion my life on life's frivolities, that God has given me, for that matter all of us, the blessing of music and a land in which we can appreciate it. Just remember where it all comes from and give Him props. Thanx BUK