Tue, Nov 10

GIRLS at the El Mocambo Rating: NNN

The Toronto debut of San Francisco buzz band Girls at the El Mocambo was both disappointing and deeply satisfying. On the plus side, the heavily hyped group sounded great live – not a small victory considering the El Mo isn’t known for its pleasing acoustics and the band’s new guitar player only learned the songs a week earlier. 

Too bad live shows aren’t just about the music. We weren’t really expecting Girls to throw themselves into the crowd or anything, but we hoped for an iota of stage presence. Instead, main man Christopher Owens barely acknowledged the room and hid behind his dishevelled long hair. Shyness is one thing, but if you’re going to get in front of a crowd, make an effort to be engaging.

BENJAMIN BOLES

Thu, Nov 12

THE DIABLEROS with FOXFIRE and SHIT LA MERDE at the Garrison Rating: NNNN

New Ossington/Dundas venue the Garrison has only been operating since October, yet it looks poised to become an indie rock institution. Owned by Lee Van Veghel and former Sneaky Dee’s booker Shaun Bowring, it features a front bar and a 100-plus-capacity venue in back, plus an ample stage and sound system. And it’s already home to the weekly Wavelength series (until it switches formats in February).

At this open-house soiree, the Diableros treated the crowd to songs from their two albums and new EP, Old Story, Fresh Road. Since last year’s sweeping lineup change, the band sounds tighter and more cohesive. Their charged set ended with the EP’s slow-building title track, culminating in an epic sax solo by Aubrey McGhee of local funk fiends the Main Thing.

The evening wrapped with fun sets by Shit La Merde and Foxfire, who are prepping to record an album of delectable disco jams with Brian Borcherdt in December.

JORDAN BIMM

Fri, Nov 13

THE WOODEN SKY and HOODED FANG at Lee’s Palace Rating: NNN

Lee’s Palace was a sauna on Friday, filled to capacity with sweaty fans who knew all the words to every Wooden Sky song and shouted them at the top of their lungs for the entire set. Somewhat perplexing considering the Toronto emo-folkers often sound like a less catchy, more troubled Blue Rodeo (i.e., not the kind of music that usually ignites such passionate response). Birthday boy Simon Walker’s guitar and keyboard atmospherics, plus the band’s undeniable intensity, kept things interesting.

A fuller-than-usual-sounding Hooded Fang played one of their strongest sets to date. Newly shorn Daniel Lee took over all the lead vocal duties – usually glock player Lorna Wright sings a few – and his laid-back baritone was the standout instrument. Several of the seven members had just come from a wedding and looked brilliantly festive. Think white shirts, black ties and an explosive purple taffeta dress.

CARLA GILLIS

Sat, Nov 14

DIRTY PROJECTORS and TUNE-YARDS at the Opera House Rating: NNNN

Dirty Projectors’ summer show at Lee’s Palace was easily one of the best we’ve seen this year, so expectations were high for the sequel. Thankfully, they had no problem meeting them.

Like last time, the three female backup singers were the stars, with head honcho Dave Longstreth coming across as more of a conductor than a frontman. He may be the brains behind their intricate, off-kilter pop magic, but the band seems more democratic now, moving easily between tightly arranged precision and fluid free-form jamming.

Opener tUnE-YaRdS impressed with her minimalist folk-funk experiments. Accompanied by just a bass player, Merrill Garbus mesmerized the crowd with her otherworldly voice and angular ukulele riffs. Building up songs using a looping pedal and a few drums, she exemplified the genius of less is more.

BB

Sun, Nov 15

GAL COSTA at Massey Hall Rating: NN

While Gal Costa’s near-revolutionary 1969 psychedelic masterpiece, Gal, sat on a merch table downstairs at Massey Hall, the Brazilian singer made her first-ever Canadian appearance a few flights up. But it was more than stairs that separated the two.

After 30 years touring her pioneering album, Costa must’ve tired of its swirling 60s arrangements. She performed with only a solo unplugged guitarist. Actually, she must’ve tired of the songs altogether, since she mostly played obvious covers of songs by Brazilian contemporaries like Gilberto Gil and standards like As Time Goes By.

Anything resembling the reckless howling and druggy guitar work on her recordings has given way to cornball stage banter and Girl From Ipanema covers. The majority of the audience, though, seemed content that the legendary singer even made the trip.

JOSHUA ERRETT