Thu, Jun 25

DJ HEATHER at Footwork Rating: NNNN

With pulled-back hair, unassuming outfit and head-down focus, Chicago’s DJ Heather is the opposite of a focal-point DJ. Her technical expertise is profound: she plays off three turntables, drops the bass at just the right moment, never misses a cue and still finds time to dance and smile to her own music.

The extended four-hour set was devoid of outright “hits,” yet she still tore the house down. Blending Chicago house, techno and the odd fan-appeasing remix, she never once lost control of the enthusiastic crowd. And though her hip-hop DJ days are behind her, the genre’s influence was evident in her selection and record phrasing.

Touted as a Pride Week event, this party got concertgoers of all orientations dancing wildly, achieving that one-love vibe for which Pride is known. 

ANDREW RENNIE

Fri, Jun 26

SHARON JONES AND THE DAP-KINGS as part of the TORONTO JAZZ FEST at Nathan Phillips Square Rating: NNNNN

A strange thing happened halfway through Sharon Jones and the Dap-Kings’ high-energy Toronto Jazz Fest set. All night long, Jones had invited fans onstage to groove with her to her fiery James Brown-inspired tunes, but when two ladies came aboard sans invite, Jones stopped the song and escorted them away by the elbow (mind you, with kisses and peace-and-love sentiments). “I gotta invite you,” declared the powerfully piped soul revivalist.

This momentarily offset the night’s joyous kick-your-shoes-off-and-dance-in-the-warm-summer-air vibe. But instead of rushing into more tunes to kill the awkwardness, Jones thoughtfully paused. “You know what? This is a good moment to acknowledge someone. Mr. Michael Jackson. I cried like a baby in my hotel room last night. I cried as if he was family. Here’s a song from my heart.”

Then she invited those two ladies back onstage while her incredible eight-piece Dap-Kings launched into the Jackson 5’s I Want You Back. As the crowd – a mix of ages, genders and races – cheered, danced and sang, it felt like catharsis.

CARLA GILLIS

PROPAGANDHI at the Phoenix Rating: NNN

Winnipeg punk hardliners Propagandhi seem to straddle a strange paradox. They’re such a politically charged group when it comes to veganism, anarchy, stopping homophobia, crushing multinationals and leaving the tar sands alone, among other issues, yet the majority of their audience, at least judging by the group’s second night at Phoenix, is made of beer-hoisting rowdies who’d be fine hitting up McDonald’s after the show.

Over the years, Propagandhi have become a hugely powerful rock machine live, which might explain the disconnect between their politics and fans who just want to bang heads. Leader Chris Hannah (dressed as Ronald McDonald) didn’t disappoint, pulling out old punk faves like Stick The Fucking Flag Up Your Goddam Ass, You Sonofabitch and their more tech metal material from Today’s Empires, Tomorrow’s Ashes. When Hannah sang gay confessional anthem Less Talk, More Rock, two bros ahead of me high-fived, seemingly oblivious to the lyrics. Maybe Hannah knows exactly what he’s doing.

JASON KELLER

Sun, Jun 28

ALTERNAQUEER STAGE as part of PRIDE at Alexander Square Parkette Rating: NNN

Tucked into the space next to the Buddies In Bad Times, the Alexander Square Parkette makes a great little outdoor rock venue during Pride. Detroit-based post-punks Child Bite favoured spine-crushing volume and stage moves over workable hooks – energetic, but their set failed to connect with the beer-swilling, pot-smoking crowd that seemed desperate to dance to anything. Next up, local hard rockers Crackpuppy sounded like boozy, metal-informed riffers from the 80s, and from the looks of their lead singer, they probably had been in bands just like this back then. 

Things got better when Opopo hit the stage. Finally, a large group of rock revellers started grooving to their kinetic bass lines and feral vocal hooks. But the highlight came at sunset, when the three members of Lioness launched into their ferocious set. Vanessa Fischer’s massive soul-laced vocals and Jeff Scheven’s larger-than-life drum work finally whipped up a frenzy. Good timing, too, because it started to pour just as they wrapped their final song.

JORDAN BIMM