CD Odyssey Disc 1764: Frank Turner

This is a bit of a monster entry, featuring both a regular album review and then a live concert recap to follow. It is a lot to read, but there are way more photos than usual if your eyes get tired from looking at words.

Disc 1764 is…Undefeated

Artist: Frank Turner

Year of Release: 2024

What’s up with the Cover? Frank from behind, sporting a new tattoo? It would be on brand, as he seems to get a new tattoo when he does a new record. Previous tattoos were more interesting than this one, but tattoos aren’t for other people, they’re for you.

I’m less a fan of the dark and indistinct filter making it hard to see much here. It gets worse in the liner notes which are printed in dark grey on black and nigh impossible to read. Would it kill you to be undefeated in slightly better light, Frank?

How I Came To Know It: I’m a Frank Turner fan, full stop. When he releases a new album, I buy that fucking album.

How It Stacks Up: I have 10 Frank Turner albums. I like them all, but anything new is going to be up against some legendary stuff. “Undefeated” is his best in years, but still comes in only at #8, bumping “FTHC” and “No Man’s Land” down a spot.

Ratings: 3 stars

For the last five years Frank’s been experimenting with his sound. On 2019’s “No Man’s Land” he did a theme album dedicated to various famous and infamous women. In 2022 he went back to his punk roots with the much heavier sounding “FTHC”. “Undefeated” is Frank returning to his core sound: folk rock anthems full of messages of overcoming adversity, anxiety, or both.

Being a huge Frank Turner fan means that I’m perfectly happy with his core sound, thank you very much, and while I enjoyed his previous two records “Undefeated” felt like slipping on a comfortable pair of shoes that have been too-long neglected at the back of the closet.

Turner’s albums always feature a couple of songs suitable for singing along, and ‘Undefeated” wastes no time getting into one. “Do One” launches the record, once again putting the theme of standing up for yourself front and centre. It starts with this positive bit of rhyme:

“Some people are just going to hate you,
No matter what you do.
So don't waste your time trying to change their minds –
Just be a better you.”

Good advice, and the verses of the song have that timeless lilting pine that characterizes much of Turner’s music. Unfortunately, the sing-along is just a scale up and down of “do do do do”. I expect more of a Frank sing-along than this – we are Turnerites, Frank – we can remember a few lines of actual words!

Much better on this front is “No Thank You for the Music” where our invitation to join is around a chorus of:

“I don’t want to be in any gang that you’re in.
I refuse to take part in gatekeeping people’s art.”

Yes, much better and again, an excellent message. Art doesn’t require gates. If you don’t like an artist, stop listening to them and your problem is solved. Also this song is the catchiest on the record, making singing along that much more enjoyable.

Frank sings about what he knows. On “Show People” he describes what it is like to be on perpetual tour, and how to own that and be proud of it. Not everyone was born to be a performer, but if you’re infected with this sickness, take pride in it and worry less about the money, and more about the experience. Frank has taken his own advice for years, and the world is better for it.

Turner is also very open about his lifelong struggles with anxiety and self-doubt. On “Undefeated” we have a couple, “Ceasefire” where he imagines giving his younger less-assured self a pep talk, and “Somewhere In Between” where he explores his struggles with imposter syndrome. Both songs are solid, and Frank is a natural at writing on topics like these without sounding like a whiner. At the same time, he does a better version of it on previous records.

“Undefeated” is a double disc set, where the second disc is the record recorded acoustically – just Frank and his guitar. The last time Turner did this was 2015’s “Positive Songs for Negative People”. His songs have such strong structural fundamentals that they sound great with or without a band, and I like having the option to hear them either way. Overall I liked the acoustic versions more, where Frank’s vocals come across stronger and there’s space and time in the arrangement to “feel the feels” of what he’s laying down.

Overall, “Undefeated” is a solid record from a singer-songwriter who long ago mastered his craft, and who continues to find new ways to make even an old sound fresh and enjoyable.

Best tracks:  Girl from the Record Shop, East Finchley, No Thank You for the Music, The Leaders, Show People

The Concert: September 3, 2024 at the Commodore Ballroom, Vancouver BC

This was my second “commando raid” concert of the summer, where Sheila and I fly over to Vancouver, see a show that night, and fly home the next morning. The concert itself is probably 10% of the total cost, so it has to be worth it. This was to be our sixth time seeing Frank Turner. He’s also the only artist I’ve ever travelled to multiple towns to see on successive nights. I knew in advance it would be worth it.

The Venue:

The Commodore Ballroom in Vancouver is an iconic venue to see live music. It was built in 1929 and is a classic art deco ballroom, with a sprung dance floor that invites revelry. The downside of the Commodore is it is a lot of work to secure a table without paying a reserve fee. Sheila and I lined up an hour in advance and were rewarded with a choice location in one of the terraced side tables near the stage.

As we sipped our drinks we thought back on the types of music the place would have seen. Big band banquet hall stuff in the thirties, young local gals dancing with soldiers on leave in the forties, and everything else that followed in the great and glorious celebration of music through the ages.

Bridge City Sinners

The opening act were Portland’s the Bridge City Sinners. I knew nothing about this band other than the fact that they had great t-shirt art.

In fact, the pre-event lineup at the merch table had four times as many Bridge City Sinner devotees as Turnerites. I walked up to the Frank Turner merch table with about as much difficulty as a woman finding an open bathroom stall at a football stadium.

Then I decided, quite whimsically, to line up again in the longer Bridge City Sinner line and take a chance on them. It felt like those folks were in on something I wasn’t, and they had the look of real music fans about them.

While waiting I met a very large, very dangerous looking man who turned out to be entirely jovial and talkative. We had a lovely chat while waiting. I figured he must love the band for a reason so, as I did when I saw the Smalls back in 2014 (review here). I not only bought a t-shirt, I bought the band’s whole damned discography as well. I’ve since listened to two of the four records and can confirm this was a good decision.

But I digress…

Back to the actual band. The Bridge City Sinners are a style entirely unto themselves. They are a cross between punk and bluegrass with a fair bit of the devil thrown in for good measure. They reminded me favourably of Canadian psychobilly act Creepshow, complete with their own scary but beautiful lead singer, Libby Lux. Lux blasts with pure punk energy, all the while playing an instrument something that – according to their Bandcamp page – is called a banjolele. With a band this unabashedly smashing genres together, it feels like a fitting instrument.

It isn’t just Lux who commands attention, every band member seems like The Most Interesting Person You Will Meet. Special mention to fiddler Lightnin’ Luke, who was all beard and hair as he furiously sawed away.

As the first of three bands the Sinners got a scant 30 minutes, but they made the most of it and I was definitely left wanting more.

Bedouin Soundclash

Up next was Bedouin Soundclash, another genre busting band this time in the form of a three piece rock band that play a mix of reggae, ska and prog rock.

Bass player Eon Sinclair commanded most of my attention with his smooth groove and eighties shimmy-shimmy dance moves. At first I was enraged by the appearance of the word “Let’s” on his bass, with no accompanying verb. Let’s what? Let’s dance? Let’s go?

Later a blacklight would reveal the hidden second half of the message, which when fully displayed read “Let’s Grow”. Well played, Eon.

Bedouin Soundclash had good energy, and apparently were well known through Canadian radio, with Sheila recognizing several songs. I did not, and although I liked it all well enough, I won’t be searching them out.

In one low moment, the lead singer stating, “jazz is better than country music”. This felt like an attempt to recover from an earlier failure to ignite the crowd with a Sturgill Simpson cover but more importantly, the statement was objectively untrue.

One song I did know was their 2004 hit “When the Night Feels My Song” but given the way they were thrashing and rocking out, I was dubious they’d pull off the soft and sweet sounds of the version I recall from the video. In the end they did play it, but as a medley with a couple other songs, notably “Country Roads”. The crowd sang along, proving they liked country after all, and all of us – jazz and country enthusiasts – ended the set as friends.

Frank Turner

At last, having weathered the insistent requests from the roving server to buy more drinks (and succumbing a total of twice) it was time for Frank Turner to take the stage. Take it, he did, with a ferocity that immediately seized the room and lifted things up. He started with a couple classic sing-a-long anthems of yesteryear, plus a track from the new album.

This would be the order of the night, as Frank played all the favourites, and squeezed in a good half of his new record. I for one welcome new record play at a show, even though for every song off the new record that I loved (“East Finchley”, “No Thank You for the Music”) he played one that I appreciated less (“Letters”, “Somewhere In Between”).

As a Turner show veteran, times I knew what I should expect and got it all, and then some. Frank belted it out, Frank bantered, Frank encouraged crowd surfing, and then did some crowd surfing himself. Check, check, check and check.

The rules of a Frank Turner show remain the same. There are only two: 1) Don’t be a dick (i.e. dance, party and punk the fuck out, but not at the expense of those around you) and 2) If you know the words, sing along. If it seems like I mention that a lot, it is because it happens a lot. If you usually hate it when the person beside you sings along full-throat with the act you came to see I feel you, but trust me when I tell you that with Frank it is different, and you will like it.

I followed both rules with gusto. Briefly there was a table in front of us doing a lot of standing and milling about in our sight lines, straying dangerously into a possible violation of Rule #1. However, the largest and most boisterous of the bunch was none other than my newfound friend from the Bridge City Sinners line up. He quickly recognized what was going on and set a better example, and within a few minutes the whole group had reorganized themselves so we got an unobstructed view the rest of the way. Score one for the brotherhood of punk rock!

Later this crew left permanently for the dance floor and were replaced by two non-descript women who looked at their phones and took selfies throughout the show. I don’t know why they were there, but whatever combination of drugs or alcohol is required to allow you to ignore Frank Turner playing live right in front of you, I want no part of it.

Through it all, Frank was killing it. There was a brief moment about 2/3 of the way through where three or four “bad relationship” songs in a row threatened to bum us all out, but that was just Frank feeling the feels (he does this). It is one of Frank’s great connections to an audience that he can create a feeling of togetherness not just through rock anthems, but through a genuine vulnerability and admission of his failings. It has the effect of giving his audience permission to forgive ourselves a few of our own cares and worries. It is very cathartic.

And besides it was short-lived and before long he brought us all back up to a frenzy of horns-in-air/flip of the hair/devil-may-care ecstasy.

I am wise to Frank’s ways, but I succumbed yet again. If you haven’t experienced the sheer joy of a Frank Turner concert, you should give it a shot. For best results, I recommend you chat in the merch line not during the show and by all means take a few photos, but otherwise, put your phone in your pocket, or – where appropriate – use it to light up the room like this:

Remember to not be a dick, and to sing along and while Frank Turner is great with strangers that you will treat like friends, it is even better enjoyed with those you love, as I did with this lovely lady. Sheila, you are the best – I’m so glad we met. In jail.

CD Odyssey Disc 1627: Frank Turner

Welcome back to the CD Odyssey. This review features time travel! Sort of.

Disc 1627 is…FTHC

Artist: Frank Turner

Year of Release: 2022

What’s up with the Cover?  An artistic take on the old punk cross-quarters where you put H and C opposite each other to represent “hard core” and two other letter for whatever you consider to be hard core (in this case, Frank Turner or “F T”). Usually it looks like this:

But instead, all the letters are all poorly drawn and the X that should separate everything is instead red and just sort of hanging out in the bottom left. Is it as good as the original? No, but it’s hard to get mad at a bunch of letters.

How I Came To Know It: I am a huge Frank Turner fan, so this was just me buying his latest album when it came out.

How It Stacks Up: I now have nine Frank Turner albums, which is a lot of Frank Turner albums. A couple days ago, when I was only halfway through my first listen, I was certain FTHC would finish last, but it rallied and narrowly bumped “No Man’s Land” down to the bottom to take over 8^th spot.

Rating: 3 stars

If five years ago my future self were to have appeared and told me I’d one day give the great Frank Turner two consecutive three-star reviews, I would have scoffed at the notion. I also would have noted that I’d let myself go, and could stand to lose a few inches around the middle. Not because I’m cruel or anything; it would have just been me feeling hurt at the Frank Turner comment and lashing out. I would’ve then apologized to future me and asked if the Dolphins had won the Super Bowl again.

But I digress…

Frank Turner named this record “FTHC” with purpose. He is signaling to the listener that you should expect things to be a bit louder than usual. In his youth Turner was a punk rocker, and while he retains the rebellious core of punk, his musical style has steered more into a folk-rock lane. I have loved Frank in this lane, which felt just as hard core and emotionally raw as anything more shouty might.

FTHC starts out quite a bit shouty with “Non Serviam” is 100% in the punk lane, with a furious thrashing beat and little in the way of Frank’s natural talent for a sing-along melody. It is followed immediately by “The Gathering” which is a bit that, mixed in with lots more thump and bump.

The challenge I have with these songs – and the ones like it elsewhere on the album – are that while they feel angry and angst-ridden on the surface, they don’t feel soaked through with that fury in a way that punk music needs. I don’t doubt Frank Turner’s cred – it is much greater than mine – but despite the metal guitar solo, songs like “The Gathering” don’t feel out of control enough for what they are going for.

After these two tunes are over, Turner mostly settles back into what fans of my “Tape Deck Heart” vintage expect of him. Songs built for raising beers, singing in unison and generally designed to make you feel OK about not feeling OK. “Haven’t Been Doing So Well” is a fine example of the form, with a title (and chorus) that reminds you that if you aren’t doing so well, shouting it to the heavens with wild abandon can be an excellent balm.

My favourite in this genre on FTHC is “Punches” with classic Frank pushing back on a bad day with a triumphant chorus of:

“But hey, every once in
a few months when
All the punches land
That day, I'm a tiger
a prize fighter
At least worth a damn”

A great expression of rebellion and possessing an infectious rhythm that will have you throwing your fist in the air and singing along.

My other favourite is “A Wave Across a Bay”. It is a song of loss and – I think – suicide, or at least untimely death. It is a beautiful song of resolved grief and forgiveness. Frank has done these emotional soul-baring narratives before (try “Song for Josh” for a similar exploration) but that doesn’t take away from the fact that he is an absolute master. “A Wave Across a Bay” will make you think of every untimely death that’s touched your life and leave you with glistening eyes and a restful smile. It’s not easy to land that combo of sadness and calm, but Frank lands it with ease.

This record is not perfect. It is not even one of Franks’ best, and there are moments I found the production a bit loud (but without purpose). The punkier elements he clearly wants to incorporate don’t land with the intensity they intend, and even the folksy elements are a mix of hit and miss.

Despite all of that, this is still Frank Turner we are talking about. There are enough awesome tracks (see below for a list) to easily buoy this record and make it a worthy addition to the catalogue. I didn’t believe that when I started listening, but fortunately it is future me writing this review, and I’ve since seen the light.

Now if only the fucking Dolphins can win a championship…

Best tracks: Untainted Love, Miranda, A Wave Across the Bay, Punches, Perfect Score

CD Odyssey Disc 1565: Frank Turner

After successfully escaping my desk to eat my lunch outside I sought a bench nearby that was both out of the wind, but in the sun. Alas, it was not to be. I chose a bench that was partly out of the wind, but wholly in the shade. Believe me, dear reader, when I tell you it was the only option.

Disc 1565 is…. Poetry of the Deed

Artist: Frank Turner

Year of Release: 2009

What’s up with the Cover? Guitar art (guitart?) Here we have Frank Turner’s guitar (identified by its signature F/T/H/C punk logo), surrounded by a flock of birds with the strings in their beaks.

The birds might be playing a tune, as birds are wont to do, but given that the birds all have an “x” on their heads, it is also possible they are ‘muting’ the strings.

How I Came To Know It: This album came to me early in my love of Frank Turner as I began to dig backward from my first Frank album, 2013’s “Tape Deck Heart”. My first stop was 2011’s “England Keep My Bones” and my second was…right here.

How It Stacks Up: I have eight Frank Turner albums and competition is tough at the top, but “Poetry of the Deed” still manages to land at #3.

Ratings: 4 stars

If you ever want to feel great about life, but you don’t want your hopeful tunes to be empty calories, then Frank Turner is the artist for you. Turner is the master of joyful anthems that have all the uncertainty the real life offers, but that are reassuring all the same. If anything, the edge is what makes the reassurance believable.

This is still early Frank Turner, and a lot of his work is wrapped up in the power of art, but for Turner that creative spirit is reflected in action and intent. Nowhere is it more evident than on the title track, where Frank expresses poetic expression as:

“Before we get bored, let's be inspired
Let's ignore the applause and set the theater on fire
Fight every war like the drunks in the choir
Put our art where our mouths are poetry of the deed”

There’s a reckless abandon in his delivery throughout the record. The piano get banged with gusto, and the guitar chords threaten to break strings with their hefty reverberation. Turner is a new generation’s Billy Bragg, filled with a mix of wisdom and conviction that is infectious.

My favourite song on the record is “Try This At Home” where exclaims that “we write love songs in C, do politics in G and sings songs abut our friends in E minor.” The song demonstrates the musical filter through which Turner sees the world, although I am always curious as to why songs about our friends are in Em. Feels a little sad, but the song belies that notion and is a joyous celebration of getting on with living.

As on many records, Turner speaks highly of his friends. Drinks in the park on “Dan’s Song” switch later to the quiet introspection and fellowship of “Sunday Nights”. Turner loves companionship and his infectious open heart makes it easy to imagine you are on of those lucky fellows chilling with him late into a Sunday evening when the sensible thing would be to go to bed.

But to go to bed early would be anathema to the energy of “Poetry of the Deed.” This is a record for living, and celebrating each adventure that life brings. The record trips along with a relentless pace and energy and even though it is 13 songs and close to 50 minutes of music, the whole of it is over in the blink of an eye.

The record’s final song, “Journey of the Magi” is the summation of Turner’s philosophy of living life to its fullest and being self-aware and thankful as you do it. In the song, a series of famous characters recount how they regret nothing in choosing adventure over comfort. Its slow deliberate delivery makes you feel like you are being regaled with wisdom around some mythical campfire. The whole record feels like this, exhorting the listener to action while never feeling like a lecture.

Given that I’m on a CD Odyssey, I’ll leave this review with a few lines from “Journey of the Magi” that celebrate Odysseus and remind us to say ‘yes’ each and every time life offers us a dance:

“Now Odysseus sat tired and alone
He'd always held out against all the doubts he would come home
Now he was here, his soul felt estranged
His wife and his dog, his son and his gods, everything changed”

“He sang, ‘I could have stayed and ruled
As an Ithacan prince, could've played safe
But in the end journey's brought joys
That outweigh the pain’”

Best tracks: Live Fast Day Old, Try This at Home, Poetry of the Deed, Isabel, Sunday Nights, Journey of the Magi

CD Odyssey Disc 1529: Frank Turner

Another snow day leads to another long commute without my car, but it also means I got in some quality music listening time. I love the commute!

Disc 1529 is….  Obviously

Artist: Frank Turner

Year of Release: 2019

What’s up with the Cover? I used to know two fellas back when I was a kid. One was an accomplished martial artist and would sometimes decide out of the blue to aggressively practice his kung fu moves. The other (much smaller) fella would sometimes get very excited by this and throw himself into the whirling limbs only to be dashed violently to the side. He never seemed to mind this outcome and would just pick himself up and do it all over again. No one ever knew the reason. I’ve always assumed…adventure?

That is not what is happening on this album cover, but I would caution anyone who encountered a goddess/superhero posing powerfully in front of an eclipse like this to not throw yourself into whatever is going on. First of all it is rude, and second of all you might get a bloody lip for your trouble.

But I digress…

How I Came To Know It: I’m a big Frank Turner fan. Not “follow him to all 40 shows” kind of level, but definitely “follow him to 2 or 3 shows as part of a holiday” kind of level. This was just me buying his latest release. His next is due out this February, and I’m looking forward to it. If I’m lucky and the pandemic relents, maybe there’ll even be a tour date later in the year.

How It Stacks Up: I have eight Frank Turner albums. I like them all but one of them has to be last, and this is it. So…#8.

Ratings: 3 stars

Frank Turner’s “No Man’s Land” had me thinking about Swedish metal band Sabaton. Not because Turner’s traded in his folk-rock guitar stylings for European power metal, although that would be interesting to hear. Rather, it is because Sabaton loves a good theme. In their case, they sing almost exclusively about warfare, but sometimes they’re so committed to accurately telling the story, they lose the song for the theme.

“No Man’s Land” suffers a similar fate. Turner’s chosen theme is remarkable women. Some heroes, some villains and some in-between, but all remarkable. I love a record with a theme, and this is a good one, but while Turner is one of rock and roll’s great storytellers the quality here is not as consistent as his previous efforts.

There are still some gems, most notably the album’s single, “Sister Rosetta.” This tells the story of Sister Rosetta Tharpe, who recorded gospel music in the thirties and forties while playing blues guitar. Her choice of instrument, the way she played, and the host of people influenced by her sound helped create what know today as rock and roll. As they say in rock and roll speak, ‘that’s fucking cool.’ So is the song, that has a rhythm and groove that pays homage to Tharpe, while staying within Frank Turner’s folk-rock wheelhouse. The song is inspirational and catchy in equal measure.

“A Perfect Wife” is another standout, a light-hearted birdsong of a tune, that belies the fact it is about serial killer Nannie Doss. The juxtaposition of the happy delivery of the chorus of “oh, oh, oh, I haven’t been a perfect wife” with the broader story in the verses is inspired.

My last favourite is “Eye of the Day” which tells the story of Mata Hari. Turner’s tune is a mournful and introspective first-person exploration of the character, painting colour, meaning and nuance into someone that is often relegated to nothing more than “German spy” in the annals of history. Her life and the circumstances of her conviction are both worthy of greater attention, and Frank brings out complexity and tragedy of the tale without being excessively explanatory.

Unfortunately, this is not always the case on “No Man’s Land”. A number of songs feel too crammed with detail, and while the stories of the various women are universally interesting to explore, the same can’t be true for the songs Turner honours them with. None are terrible, but many could benefit from stronger melodies or fewer facts.

I was also disappointed with Turner’s new recording of “Silent Key”. The song is the story of Christa McAuliffe’s death in the Challenger disaster and is one of my favourites from his 2015 album “Positive Songs for Negative People” (reviewed back at Disc 791). The original album had two versions (electric and acoustic) and both are heartbreaking and beautiful. Turner opts for a softer more hopeful delivery on “No Man’s Land” and the lack of all the underlying pain takes away from what should be one of the record’s best.

Despite my criticisms, Frank Turner remains one of my favourite artists of all time. I’ve seen him live more than any other band, and when concerts are allowed I’ll see him again. I am equally enamoured of his discography, which is chock full of brilliance. In some respects, “No Man’s Land” suffers by comparison to these other records, but don’t assume that means it is bad. It may not be my favourite, but I still like it plenty. Moreover it will have you scouring the internet and bookstores for more stories about these remarkable women. That’s an outcome I expect Frank would have preferred over a gushing review anyway.

Best tracks: Sister Rosetta, A Perfect Wife, Eye of the Day

CD Odyssey Disc 1253: Frank Turner

I just watched my beloved Boston Bruins win Game 7 of their first round series against the Toronto Maple Leafs. It feels great. Go Go, Black and Gold!

Disc 1253 is… Love, Ire & Song

Artist: Frank Turner

Year of Release: 2008

What’s up with the Cover? Frank in a suit and tie, his traditional concert attire.

How I Came to Know It: This was just me drilling through Frank Turner’s back catalogue once I liked him.

How It Stacks Up:  I have seven Frank Turner albums. Of those seven, “Love, Ire & Song” is second.

Ratings:  4 stars but almost 5

“Love, Ire & Song” holds a lot of hope and just the right amount of bravado. It is a record that reminds you that while you can’t stay young forever, you should never forget the feeling.

Frank was only 26 when he made this record, but he already has a nuanced appreciate of the human condition. “Love, Ire & Song” is an exploration of a man coming to terms with the growing weight of experience and determined to not let those experiences dull the joy of life.

My only regret listening to this record was only discovering it five years after its release – it would have made a great live show. Hell, all Frank’s live shows are great. As it is, it is still an early classic record that continues to stand up as some of his best work in a career that has plenty of greatness to choose from.

Turner’s signature folk rock sound is already firmly in place on “Love, Ire & Song” albeit a bit more stripped down than later releases. The record has a bevy of songs so brilliant that they continue to muscle into latter-day live shows and plenty more deep cuts that have every right to the same space.

Frank doesn’t just write songs, he writes anthems. These are songs you memorize and sing along; songs that make you feel like you are part of something greater. Turner has tapped into the rebellious spirit of punk rock but converted this to an English folk-rock feeling.

Don’t look for complicated music making here. Lots of basic guitar chords, hand claps and Frank belting out his truth. That truth is reflected in songs that invite you to revel in life’s struggles. His audience is the inner outcast in all of us. The songs begin with calls to action like “We’re lovers and we’re losers/We’re heroes and we’re pioneers,” “You’re not as messed up as you think you are” and “Well I guess I should confess that I am starting to get old.”

However, what’s important in all his music is the willingness to soldier on. Everyone’s got problems, Frank preaches, but if you’ve got something to say, then say it. Or as he puts it on “Photosynthesis” (the most anthemic of all these songs):

“I won’t sit down, and I won’t shut up

And most of all I will not grow up”

Turner’s lyrics are so clever it would be tempting to quote them all, but I’ll stick with this rarely quoted line from the deep cut “To Take You Home”. The song is about dating a Parisian girl and Turner can’t resist with a little musical allusion:

“And she doesn’t like my songs but she’s still my mademoiselle

And ‘it goes to show you never can tell.’”

It is too cute by half, but in the context of the song, it works.

The title track is a five-star song. Over the course of an evening “Love, Ire & Song” captures the cynicism of watching youth and idealism fade, the casting about for what went wrong and – ultimately – an appeal to man the barricades one more time. The song is narratively framed around what is a bit of a drunken bender, but when confronted with having to choose between what part of the evening’s experience had a lasting value, siding with ideas over excess:

“Leave the morning to the morning, pain can be killed

With aspirin tablets and vitamin pills

But memories of hope and glorious defeat

Are a little bit harder to beat.”

Any time I am feeling a bit world-weary, or not sure I am making a difference I can put this song and recharge my batteries. What’s more, the song – and the record as a whole – doesn’t fill you with false hope. It acknowledges there are plenty of battles in life you’re going to lose. It just reminds you to make all your defeats glorious.

Best tracks: I Knew Prufrock Before He Got Famous, Reasons Not to be an Idiot, Photosynthesis, Substitute, Love Ire and Song, To Take You Home, St. Christopher Is Coming Home

CD Odyssey Disc 1177: Frank Turner

Apologies for my long absence, dear reader. I’ve had a very busy week organizing a football pool, bidding a friend goodbye who was leaving town and then taking in not one, but two concerts. Reviews of both shows are below, but first let’s hear about the album supporting them.

Disc 1177 is… Be More Kind

Artist: Frank Turner

Year of Release: 2018

What’s up with the Cover? Some very basic line art of two hands reaching for each other. It is a heart-warming concept but not much of an album cover. When I saw this design I was immediately fearful of what this year’s tour shirts would look like. In the end it was pretty much the cover with the colour inverted. Strangely, this made it look way better – or maybe I just really wanted a tour shirt.

How I Came To Know It: I am a devoted Frank Turner fan. At this point I might even be considered a Turnerite, if such a thing exists. So when he released his first new album in three years I raced to my local music store and bought it. In truth, I probably testily looked for it in the Frank Turner section for a few weeks before it was even released.

How It Stacks Up:  We now have seven Frank Turner albums, which is all his full length studio albums. I liked “Be More Kind” but competition for my heart is fierce when it comes to Frank Turner albums and so it still came in…seventh.

Ratings: 3 stars

I try to avoid talking politics on the CD Odyssey, but albums like “Be More Kind” make it pretty hard. For his part, Frank Turner has never shied away from politics, but on this record he takes it to another level.

Like a lot of people Turner has had a strong and negative reaction to the current American administration, and his latest album is an exploration of that reaction. What makes Frank so amazing (and one of the reasons his concerts are not to be missed) is that he fundamentally believes in the decency of people. When he is confronted by divisiveness, he calls for people to come together. When some would judge, Turner encourages understanding.

So it is no surprise that while “Be More Kind” is very much an indictment of the current direction of America, Turner consistently applies a tone that implores us to be better, to do better and – at the risk of putting too fine a point on it - to build bridges not walls.

The first third of the album is song after song that explores these concepts, but the one that resonates strongest (both musically and thematically) is the title track. The more opinions are divided the more difficult it is to remain calm and not descend into rancor and vitriol. “Be More Kind” begins with a gentle guitar strum. At first there are no bass notes, just a bit of light brushing of the high notes in the chord. Then Frank’s soft almost tremulous vocals confess to you:

“They've started raising walls around the world now

Like hackles raised upon a cornered cat

On the borders, in our heads

Between things that can and can't be said

We've stopped talking to each other

And there's something wrong with that

So before you go out searching

Don't decide what you will find

Be more kind, my friends, try to be more kind”

Later a cello gets added in, a grounded and poignant shift that Turner uses to underscore that he is telling you Something Important. And he is.

Not all the songs are calls for basic empathy; on “Little Changes” Turner reminds us that if you don’t like how your society is going, make a few changes. A lot of people making little changes eventually adds up to something big.

I do have two issues with “Be More Kind” that hold the album down to a modest but respectable three stars. The first is that while these messages are amazing, some of them are a bit ham-fisted. “Make America Great Again” would make for a fun anthem at a live show, but on an album it feels a bit hackneyed.

The second is Turner’s continuing journey into a more mainstream pop sound. His prodigious songwriting talents transcend any arrangements or styles, but I tend to prefer him when he is a bit more raucous. “Be More Kind” is very polished (something Turner warned us hardcore fans about well over a year ago). I applaud him for continuing to grow his sound but I miss some of the edge.

Despite all this, Turner remains one of the great and underappreciated singer-songwriters of our time. And even if there is a bit too much sugar and nice on this record, the world could use a bit more of that these days.

Like anyone, I’ve had frustrating moments where I felt judged based on a perception of who I was, instead of who I actually was. So when Frank Turner and has the strength in the most troubling of times to remind us in “Common Ground”:

“If all we are is dust to dust, then in the end what’s left of us

Are the traces of the way we treat the ones we meet

And the ones who trouble us, the greatest test of us

Seems to me to be the way we disagree.”

It resonates, and reminds me that all you can do is be a good example and hope it spreads. It made it easy to get over whether I was hearing a cello or a Gibson Les Paul and just take Frank’s message of love and pay it forward.

Best tracks: Don’t Worry, 1933, Little Changes, Be More Kind, Going Nowhere, Common Ground

The Concert – September 8, 2018 at the Vogue Theatre, Vancouver

Sheila and I decided to play at being groupies for the weekend, and followed Frank Turner through the first two of his tour dates in Canada.

The first was at the Vogue in Vancouver. After a forty minute wait in a torrential downpour (during which I met three very nice people) we got into the theatre. The Vogue is half concert hall seating and half dance floor, and the combination is pretty great. Want to get up and dance? You can do that. Prefer to sit and watch a show? You can do that too.

Because so many folks at a Frank Turner show want to be on the floor, Sheila and I were able to stand in the most abandoned seating section without blocking anyone’s view, and dance there. So the best of both worlds!

Trapper Schoepp:

The first act was indie folk singer Trapper Schoepp, who we had also seen a year earlier at the Commodore when he had also opened for Frank. I love Schoepp’s music, and he is also a genuinely nice guy. He remembered chatting with me at the merch table the year prior and we did a bit more of that this year.

He plays a mean guitar, has a nice tone to his voice and sings songs drawn from his experience touring, growing up in Wisconsin and stories about his family. He played some tracks off his new album (sadly, I could not find it his merch table) and then a lot of old favourites I’d heard the year before but was happy to hear again.

My only bit of constructive criticism would be that he should cut down on the narrative introductions to the songs. He’d give a lot of the details of the songs away in those narratives that are far more interesting as reveals within the performance itself. A minor quibble over what was a thoroughly enjoyable opening act.

Bad Cop Bad Cop:

The second opener was Bad Cop Bad Cop, who were very much not Trapper Schoepp in style. Bad Cop Bad Cop are an all-women punk band from LA that take the stage with ferocious energy and then don’t let you up for air until the set is finished.

Don’t look for a lot of intricate finger picking from these ladies; they hit their guitars like it’s a title fight and assault your ears with good ol’ rock and roll. While they don’t shred out solos (remember – this is punk music) they are very tight. This is important, because the songs have some sneakily pretty melodies snaking through them, and the precision playing lets your ear pick it out. Depending on the song any of three of the four women took on lead vocal duties, usually with plenty of unison support from their bandmate.

In terms of performance, bassist Linh Le plays against type, leaping around the stage like a dervish and striking rock-god poses every few bars in a manner usually associated with vocalist and lead guitar. Everyone else is plenty active as well, but Le takes it to another level. Bill Wyman would probably have a heart attack just watching her.

Bad Cop Bad Cop swore a lot at the audience, but it was all in good fun and they amped up the hall beautifully for the arrival of Frank Turner.

Frank Turner:

Aahh, Frank… I’ve seen a lot of shows but there is nothing quite like the mix of atheist church revival, punk rock show and self-help group that is Frank Turner. The man knows how to put on a show and it is no accident I’ve seen him five times in three years.

Turner started the show with a few songs off his new album (reviewed above), mostly picking from my own favourites which was a happy accident.

On the fast songs, he played with reckless abandon and on the slow ones with heartfelt emotion. There was crowd surfing (both by fans and Frank himself), there was a circle in the centre of the dance floor featuring people running (at Frank’s behest). Frank even waltzed with a lucky fan for part of “Four Simple Words.”

Part of the magic that is Frank Turner is that every show has a slightly different setlist, and the deep cuts are always changing. On this night, in addition to new tracks Turner dug deep into his catalogue. This featured the highlight for me, as I finally got to hear my favourite Frank Turner song, “Love, Ire and Song” live. Thanks for that Frank, and thanks to whoever had the foresight to request it. Yes – Frank takes requests, but he takes them earlier from fans contacting him.

Early on Turner reminded the audience of his two rules. Rule #1: Don’t be an asshole. Enjoy the show in a way that doesn’t wreck the show for your neighbor. Rule #2: If you know the words sing along. Frank Turner fans take both rules very much to heart.

Every third song features a sing-a-long moment for the crowd, and like most Frank Turner crowds most of the audience knew at least the chorus and highpoints, and about a third of them knew whole songs. He may not be famous to mainstream radio listeners, but at his show he is the king. I thought I knew my Frank, but there were people there who were putting me to shame.

The effect is magical – everyone pouring their hearts out to Frank, who absorbs all that energy and feeds it back out again. If you want to know what the magic of a live performance is all about, you cannot do better than a Frank Turner show.

The Second Concert – September 9, 2018 at the Alix Goolden Hall, Victoria

Since a lot of the basics are the same, I’m going to focus on the differences between the shows rather than repeating everything I said above. So here we go!

Trapper Schoepp:

Trapper was very different. In fact, there was no Trapper Schoepp. Instead we got local Victoria indie folk artists Northcote.

Northcote:

Northcote (aka Matthew Daniel Goud) is an unassuming indie folk artist with a soulful voice and a penchant for writing heartful songs. Frank is also a fan, and I could see him offstage listening, watching and even singing along a little. As fun as it was to see Frank fanboying out, I focused on Goud who is a big-framed guy that you sense has a gentle fragile soul.

My minor bit of constructive criticism for Northcote is he didn't promote his brand much. Other than saying they were “Matt and Steve” (Steve being his sneaky-good guitarist) he only said the word "Northcote" once. When you are that talented you don’t need to feel weird about spreading the word about yourself; encouraging people to buy your music is doing them a favour.

Bad Cop Bad Cop:

Hearing a balls-out band like Bad Cop Bad Cop at a venue like the Alix Goolden Hall (an old church) makes for a strange fit, but it is also devilish good fun. They were just as good as the night before, although the sound was a bit over-amped for the first half of their set. This is a challenge at Alix Goolden, which has natural acoustics built for non-amplified sound.

Still, all the fun was still there and the band – slightly hampered by a small stage – still rocked the crap out of their set. Le was the same powder keg of fury, although she swore a lot less. She even said “I’m not going to swear” but at that point she had already shouted a “fuck you” at anyone who hit their spouse, so that ship had sailed. I kind of missed all the swearing, but I guess if you’re only going to have one, that’s as good a reason as you could ask for.

Frank Turner:

In the balcony above you can see Bad Cop Bad Cop as well!

Frank brought the same magic he has brought to every stage I’ve ever seen him rock. The Alix Goolden hall was not packed to the rafters (which was disappointing) but it was pretty full. Unlike most Turner venues there was no dance floor, so crowd surfing (by Frank and others) was not possible. This was a drag, but it was quickly overcome by Turner’s infectious energy.

Less people knew the songs well enough to sing along but there were enough of us to make the magic happen. I sensed not everyone was 100% sure this was the thing to do, despite Frank reiterating his two rules early on.

In terms of setlist, I missed hearing two of my favourites, perennial concert tune “Try This at Home” was gone and there was no repeat of “Love, Ire and Song”.

However, Frank’s song options are sufficiently deep that he never disappoints. “Glory Hallelujah” was added in and the crowd enthusiastically chanted “there never was no God” in the old church hall. As for deep cuts, Frank played “Sunday Nights” off of his 2009 record “Poetry of the Deed”. I love this song, which is about late nights drinking with friends when you should be getting rested up for work. Great stuff, even if – like Frank – I have pretty much given up drinking on school nights.

As with the Vancouver show, Frank invited the audience to take the “don’t be an asshole” rule into our daily lives. He posited that “this is a great rule for a concert, and pretty good rule for life as well.” I agree and the idealist in me imagines that the crowd will ripple a bit of increased kindness through their lives – maybe just for a few days, but hopefully for longer.

The final song of the night was “Polaroid Picture” which is a song about appreciating the moments you get to share with the people you love, because you never know when it’ll be the last one you’ll have. As the song goes:

“Let go of the little distractions
Hold close to the ones that you love
Because we won't all be here this time next year
So while you can take a picture of us”

In Vancouver, I had Sheila to share this sentiment with, but in Victoria the place was packed with people I love. Here’s a photo of a few of them:

There were even more spread through the hall (plus the photographer - thank you to Caroline), and the song reminded me of how fortunate I am to have so many great friends. Getting to share the magic of Frank Turner with them all made for a special night.

CD Odyssey Disc 1076: Frank Turner

Another long day but I’m home now, and it feels good. I could watch the end of the football game, but instead I’m going to write this blog while I’ve still got some creative energy in the tank.

Disc 1076 is…Tape Deck Heart

Artist: Frank Turner

Year of Release: 2013

What’s up with the Cover? An artist’s literal interpretation of a tape deck heart. This looks a lot like a tattoo design, and I wouldn’t be surprised if Frank has this tattooed on him somewhere. As album covers go, this is top notch, except of course for Tipper Gore’s parental advisory, wrecking the symmetry of the art all so that the moms of America will know that Frank says “fuck” from time to time on the album.

How I Came To Know It: I came relatively late to Frank Turner, with “Tape Deck Heart” being the first album that I heard. I believe my friend Casey played a couple of songs off of here for me and I was hooked.

How It Stacks Up:  I have six Frank Turner albums. Of those six, “Tape Deck Heart” comes in at #1.

Ratings: 5 stars

Frank Turner albums don’t just speak to your soul; they whisper comforting words to it to let you know everything is going to work out. “Tape Deck Heart” has Frank working his usual magic, reinforced with some of his strongest songwriting and arrangements that are crisp and confident.

No one writes an inspirational anthem like Frank Turner. These are songs that empower you and demand you sing along, lifting you up on their powerful messages of reflection, rebellion and redemption. Unlike so many radio friendly pop songs that try to do the same, Frank’s brand of inspiration is never giddy and vacuous or vague. These anthems are inspirational because they represent confronting and overcoming real issues, and real challenges.

Depression, lost love, and substance abuse all feature prominently and you get the distinct impression that Frank sings what he knows. On “Tell Tale Signs” he compares the memory of a damaging relationship with cutting and self-harm. It is a raw and emotionally real song from its stark opening of “God damn it, Amy/we’re not kids anymore” through Frank’s comparison of the memory of the girl he knew, described as “a beautiful butterfly burned with a branding iron.” The memory of her is like the scars on his arms, always there, sometimes painful and strangely comforting.

Turner’s willingness to confront his fears creates an instant rapport in the listener. On “Plain Sailing Weather” he sings “give me one fine day of plain sailing weather and I can fuck up anything.” It is a relatable moment for anyone who ever had a dumb moment and is in the middle of slamming their head into their palm. You may not have Frank’s specific demons, but you’ve got some kind of demons, and it is just nice to hear someone sing so openly about theirs.

For all the sadness, at his heart Turner is an optimist and understands that even bad memories serve a useful purpose. “Recovery” is a song about screwing up a relationship, but it is also a lesson on how to grow and learn from loss. “The Way I Tend To Be” is Turner admitting he can be a schmuck, but how it makes him appreciate a love that “can save me from the way I tend to be”.

Frank Turner albums are often about the lyrics and message, and he wisely keeps the melodies basic so you can focus on them. The backdrop is a smartly organized blend of pop, folk and punk. “Tape Deck Heart” has a bit more production than earlier records, but Turner wisely leaves lots of room for the songs to breathe, punctuating his four minute jolts of wisdom with a flourish of piano or mandolin as the occasion demands.

And of all Turner’s albums, “Tape Deck Heart” has songs that are the most consistently catchy. Listening to this record I can’t understand why he isn’t more famous. Maybe people just like their pop with a little less pain.

My only issue with this album is that it is too long, clocking in with 16 songs and 62 minutes, including four ‘bonus’ tracks. I’d be tempted to cut those four songs, but they are some of the best on the album. “We Shall Not Overcome” has a chorus that feels like the theme song of my life:

“The bands I like they don’t sell too many records

And the girls I like they don’t kiss too many boys

And the books I read will never be bestsellers

Yeah, but come on fellas at least we made our choice.”

Turner understands that his army of counter-culture iconoclasts need a sense of belonging too –often achieved when standing united and proud behind our obscure bands and books.

Mostly though, Frank is about accepting that bad things happen to good people, but the human spirit has an incredible propensity to overcome. The lessons we learn along the way are part of the celebration, even if they hurt at the time. On tattoos he sings “if we had the luck to live our lives a second time through/we’d be sure to get the same tattoos”.

Despite all this excellence I was going to downgrade Frank to four stars for breaking my 14 song rule. Then I read this quote on the Wikipedia entry for the album:

“Track listing an album is a fine art, and usually a pretty agonising process. I’m glad I've had the opportunity to do the extended version for this one – all these songs belong together. That said, I think an album is a piece of art in its own right and can be too long, so it’s worth making the twelve-track definitive version. Choosing what makes it and what doesn’t is agonising, though.”

Damn you, Frank, you managed to be unflinchingly honesty about even your decision to put too many songs on the album. I just can’t stay mad at you over it when you put it like that. Five stars it is, given with love from the depths of my compact disc heart.

Best tracks: All tracks

CD Odyssey Disc 1052: Trapper Schoepp

This is the last of my trilogy of album review/concert review double features from our recent musical holiday to San Francisco, Portland and Vancouver. The last show was Frank Turner, but while I was there I discovered a new (to me) opening act and was impressed. Since he’s got the new album and not Frank, I’m going to review that first and then talk about the concert at the end.

Frank, if you want this kind of VIP treatment you’re going to have to stop teasing me and release that new record. For now, let’s turn our attention to Wisconsin’s Trapper Schoepp.

Disc 1052 is…Rangers & Valentines

Artist: Trapper Schoepp

Year of Release: 2016

What’s up with the Cover? This cover brings to mind that old adage, “If you’re going to be drawn and quartered, make sure you wear your best suit.”

OK, that’s not an old saying, but it is still good advice. Sure the suit will be ruined, but by the time they ride your various parts to the four corners of the kingdom, your suit will be the least of your worries.

How I Came To Know It: For a guy who knows a lot of music I confess I’d never heard of Trapper Schoepp before I saw him open for Frank Turner at the Commodore a week ago. After I heard him though, I wasted no time getting to the merch table to buy a couple of his CDs. This was one of them.

How It Stacks Up:  I’m not sure. I have two Trapper Schoepp albums, but they are two of 20 CDs I bought while on holiday, and I’ve only listened to 13 so far and the other Schoepp album (“Run, Engine, Run”) isn’t one of them. Despite that I took the time to listen to “Rangers & Valentines” several times in recent days and based on how good it is, I’m going to guess it is the best.

Ratings: 4 stars

Not every artist is good both live and recorded. I’ve seen lots of artists that are only good in the studio, and others that only grabbed your attention when they’re physically there in front of you. In the case of Trapper Schoepp, you’re good either way. Schoepp’s youthful energy, insightful songwriting, and innate sense of timing and delivery all translated to CD without a hitch.

Like a lot of good music, it is hard to categorize Schoepp. He is mostly good ol’ rock and roll, but there is a healthy dose of country twang and bit of Dylan-esque folk music. He reminded me favourably of Canadian singer-songwriter Luke Doucet, another genre-crossing talent.

Schoepp is a young musician, but you get the sense he has a strong sense of musical history. I heard elements of sixties pop, seventies country and eighties rock in his music, but he’s blended it all into a sound that is fresh and modern. The guitar on “Don’t Go” even feels a bit like the guitar sound in early U2 – only more organic. Schoepp then blends that sound with a southern fried country-rock riff, and a heart-worn narrative of duty and disillusionment worthy of a Steve Earle ballad.

“Talking Girlfriend Blues” sounds like an homage to Bob Dylan, all the way down to the title and delivery, but Schoepp keeps it original. The song also shows off his strong sense of humour and talent for self-deprecation as he tells of a series of near-misses on trying to find a girlfriend. Like Dylan he knows how to wrap up a rambling image with a funny tag line:

“…by the time I dropped her off

She was doing her best cough

I went in for a kiss, it was more of a lick

It was about that time that she said she was sick

But I knew it was just of me.”

Schoepp has a solid understanding of how to let imagery do the heavy lifting, like the use of football in the opening of “For Jonny”:

“Drank booze from bowls

Sang “Dixie” out of tune

Missed the football game on Sunday

Passed out at noon

“I wanted to hit the town

But the town it hit me

It’s been knocking me down

Since I was 19”

The way he puts those football images in your head in the first stanza means its lurking around in your mind when the town knocks him down in the second. The booze here is like a concussive sideline hit, and an evocative image of someone partying at an unhealthy level.

In previous reviews I’ve bemoaned artists that played stripped down in concert, but then added too much production to their recorded work. I heard Schoepp solo on a single guitar, and “Rangers & Valentines” is a full band, replete with horn sections, piano, pedal steel, organ and more besides. Here the additional instruments are welcome additions, adding layers to songs that already have solid bones to work with.

The horn section on “Mono Pt. II” is sublime, blasting around in the chorus, and making an ill-timed bought of mononucleosis strangely celebratory. There’s even a cowbell on “Settlin’ or Sleepin’ Around”. Is there any song that isn’t made better by cowbell? I can’t think of any.

“Rangers & Valentines” is an excellent record, and one that I think will feature heavily in rotation on my stereo.

Best tracks: Mono Pt. II, Talking Girlfriend Blues, Settlin’ or Sleepin’ Around, For Jonny, Don’t Go, Dream

The Concert – September 13, 2017 – The Commodore Ballroom, Vancouver

At last, after a thousand chances to go, I finally found myself in the legendary Commodore Ballroom. I’ve wanted to see a show there for decades and for whatever reason (scheduling, money or just plain lack of motivation) I never made it over. Eventually, it took following Frank Turner up from Portland to make it happen. We’ll get to Frank’s show at the end, but let’s give the opening acts some time first, shall we?

Band of Rascals

Frank Turner had two opening acts, and the first of them was “Band of Rascals” a blues rock outfit from my home town of Victoria that came on for about a half dozen songs as the place was filling up.

It’s never easy to be the first of three bands, but Band of Rascals took the stage with a good deal of energy. They played solid bluesy grooves (particularly the bassist, who I felt was the hidden star of the group) and were generally well received, but it wasn’t my cup of tea.

As we got settled in for the next act, I took a little time out to down a double rum and coke or two. Unlike San Francisco, I was no longer feeling the restless need for rebellion. For this reason (and because the spiced rum selection at the Commodore is atrocious) I took it a lot slower. I’m sure my liver appreciated the change of pace.

Trapper Schoepp

Next up was Trapper Schoepp, who you may remember from such blog entries as “Disc 1052: Trapper Schoepp”. If that doesn’t ring a bell, scroll up.

Anyway, unlike his record that is full of horn flourishes and other great instrumentation, Trapper appeared on stage armed with nothing more than a guitar and a rakish smile. No doubt it is hard to drag a full band all the way from Wisconsin.

Fortunately, Schoepp didn’t need all those extras to sound great. He has that busker-like talent of making his guitar do double duty as percussion and melody and his vocals were strong, crisp and clear.

It helps when you write great songs, and as I noted in the album review Schoepp has the talent. These were songs that had catchy hooks, great narratives, and just the right mix of humour and wisdom.

Schoepp had a natural command of the room, which in the Commodore isn’t easy. That dance floor is big, and it is festooned with a lot of drunks; getting their attention takes effort. Schoepp managed it with an “aw, shucks” quality that was a little bit of humble and a little bit of relaxed confidence that comes from people who just know they’ve got a talent for getting people to pay attention to them.

He certainly got my attention. I started the set wondering whether I was going to try to risk ordering a drink on my tab from the floor server or wander back over to the bar and do it direct. In the end I forgot all about getting a drink and just watched the show.

After he finished up Schoepp was at the merch table and I got a chance to meet him. He was engaging and present with what I call “something going on behind the eyes”. I like to think he is going places – hopefully to my hometown, where I can see him play again.

Frank Turner

And then, the moment all of us rabid Turnerites were waiting for came…Frank Turner and the Sleeping Souls took the stage.

Frank Turner was good in Portland, but opening act in a sit-down auditorium is not the proper way to see him. Here, under the soaring ceiling of the Commodore ballroom and in front of close to 1,000 rabid fans, he was finally in his element. He did not disappoint.

I’d seen Frank a couple years earlier at a similar venue (the Neptune in Seattle) and vowed I’d see him as often as I could from that point forward. Turner’s show at the Commodore was even better than my first experience, which is saying something given the bar he set back then.

Turner was on fire, amping up a throng that was already packed tight on the dance floor. We remained on the side at our table, but added plenty of noise and excitement from there. Best of all the way the seating is tiered I was able to see just fine and could also stand, dance and shout as the mood struck me without wrecking the experience of anyone behind me.

Frank has three rules at his show: be kind to each other, sing along if you know the words, and dance if you don’t. They are easy rules to follow. His repertoire has plenty of sing-a-long tracks that cleverly mix self-affirmation and self-examination.

A good Frank Turner crowd doesn’t just sing along to the chorus or hook, they know the words to the whole song, and this crowd did not disappoint. I felt very much among my people, and it felt good.

In addition to the great music and enthusiastic delivery Frank had a few tricks I hadn’t seen yet. These include having a friend of his from the audience crowd surf from the stage to the bar at the back of the room, get two shots of whisky, and then crowd surf back where she and Frank had an on-stage toast. Before she set out Frank reminded everyone to be respectful of her during the journey, and the crowd enthusiastically called out their collective promise to do so.

Later Turner exhorted everyone to give a stranger a hug. I rushed to a guy at a neighboring table and gave him a bear hug like he was a friend I hadn’t seen in twenty years. He happily reciprocated.

Turner takes the overused expression of “music brings people together” and makes it live and present in the flesh. More importantly, it never feels like a schtick or a gimmick. He loves to perform, and he’s damned good at it, and he has the musical talent to back up that passion.

After the show was over, we met up with our friends Casey and Helene, who we’d lost earlier to the dance floor crowd. Here they are:

They weren’t strangers, but shortly before or after this picture was taken I hugged them too. Our other friends Andrew and Theresa slipped away sometime near the end of the encore, beating the rush but if they hadn’t, I would’ve hugged them too. I’m a bit of a hugger. Seeing a Frank Turner show with friends definitely makes it better, but going to a Frank Turner show means being among hundreds of friends anyway – you just haven’t met them all yet.