CD Odyssey Disc 1964: Sabaton

There is a special rule in the CD Odyssey that when I go see a band live in concert I can directly select their album, provided it is the album they are touring. That’s what’s happening here. So today it isn’t random, but don’t get used to it. We’ll be back to not knowing where our musical journey takes us in no time.

Also, if you like a bit of live concert review with your studio experience, I’ve provided exactly that following this review. Just keep scrollin’!

Disc 1964 is…Legends

Artist: Sabaton

Year of Release: 2025

What’s up with the Cover? Artwork that depicts the various characters you are going to encounter on the album. Looks like that rascal from the 12^th Dynasty Senusret III is getting centre stage on this one. Not my favourite song on the album but he does have a handsome visage and a resplendent headdress, so it’s an understandable choice.

Other notables you’ll see include Hannibal, Napoleon and Miyamoto Musashi. And others! Collect all your historical favourites here on…Legends!

How I Came To Know It: This was just me buying the latest release from Sabaton – a band I have been following for about seven years now. This is not remotely from the beginning, so I claim no street cred, but I have been making up for lost time.

How It Stacks Up: I have ten Sabaton albums. “Legends” is a good record, but I must reluctantly rank it at #9.

Ratings: 3 stars

Sabaton is one of those bands that I call “ACDC bands”. Not because they sound like ACDC (they don’t) but because like ACDC their songs all sound very similar to one another. If you like the sound, you tend to like their albums and if you don’t then you really need to go find a new interest, because this is their thing, and the lads aren’t for turning.

That thing is a mix of power metal, folk metal, and New Wave of Traditional Heavy Metal (NWOTM – yes, it’s a term, IYKYK), a galloping beat, power chords and the bombastic vocals of frontman Joakim Broden.

Despite 25 years in the bombast game, Broden hasn’t lost a step and his vocals still cut through the fog of war (and on a Sabaton record there is a lot of that) and tells tales of various characters and battles through the course of human history.

I’ve mentioned this on previous reviews but it bears repeating: Sabaton are a band that sings about historical events, almost exclusively of the military variety. Much like their style of music, if this appeals to you, you will tend to view their records favourably and if this does not appeal to you then it is going to be a very long and fitful 45-55 minutes, indeed.

“Legends” is no exception to both the musical and thematic rules of the band, and because I land nicely at that intersection of bias, I had no complaints on that front. In fact, there are a few standouts on the album.

The first of these is “Templars”, a classic full-tilt Sabaton galloper about the Knights Templar that has a first-rate guitar riff hooking your ears. Broden is particularly good here, as the song lends itself to his range well and as usual, makes everything the height of DRAMA. This despite lyrics that are literal to the highest degree (another Sabaton standard). Don’t look for a lot of metaphor on a Sabaton record – they are here to share some history they found interesting, and they’re sticking to the facts, ma’am.

Another winner is “Crossing the Rubicon” about the fateful decision made by Julius Caesar to bring his legions back to Italy and contest for the leadership of Rome. Again, the heavy riffs and the unison singing on the chorus encourage singing along and create a surge of energy. Sabaton captures the dread import of decision like the crossing of the Rubicon and transports those momentous events across time and space so a modern audience can feel the urgency. It ain’t exactly time travel, but it’s a cousin.

My last of three favourites is “Lightning at the Gates” the story of Hannibal surprising the Roman legions by invading Italy across the alps. A bold maneuver that didn’t ultimately win him the war, but an inspiring bit of generalship all the same. Also, this song has one of the better melodic structures on the record, capturing the shifts in elevation, the determined march of an army and even a bit of optimistic whimsy in the guitar solo, as befits such an unorthodox bit of strategy.

So why only ranked 9th? Because apart from these three songs a lot of “Legends” is just not up to the same standard of earlier Sabaton records. When you do the same thing a lot, you walk a thin line to avoid becoming an imitation of yourself, and there are songs on “Legends” that feel a little like they are trying to squeeze water out of a stone. Also, while I don’t expect Shakespearean prose, songs like “I, Emperor” (Napoleon) and “Maid of Steel” (Joan of Arc) land awkwardly in both lyrics and phrasing. “I, Emperor” in particular is a plodder.

But even with a couple of clunkers this is still a Sabaton record, and all the ingredients you like (if you like this sort of thing) are there. While I didn’t get the full rush of some of their truly great records, I still had a good time and unlike most of the stuff they sing about, no one got hurt in the process.

Best tracks: Templars, Crossing the Rubicon, Lightning at the Gates

The Concert: October 8, 2026 at the PNE Forum, Vancouver, BC

This concert was originally scheduled for April but one of the members of the band had a medical issue and the show had to be delayed. I decided to stick it out, and with the companionship of my buddy Spence, I took it in with several thousand other screaming metalheads.

The Venue:

If you haven’t been to the PNE Forum, it is pretty great to see a show. It is essentially a mid-sized hockey rink built in the early thirties with a big central floor for moshing/fist-pumping types with good backs and bleachers on either side for those with backs that are a bit dodgier. No good for moshing, but still plenty of room to pump a fist or two. My companion and I, being of the dodgy-back persuasion, chose this option.

Wings of Steel

The first of two opening acts was Wings of Steel, a traditional heavy metal band that went full in for the eighties metal vibe. The line between homage and imitation in this genre can be admittedly fuzzy, so I’ll just say Wings of Steel did not offer anything new. The singer had good vocals and the songs were well structured, if a bit obvious. The guitar player played fast, but his solos felt disconnected from the song. It wasn’t to my taste, but I will say that on aggregate, these five guys had the BEST metal hair I have seen in many a decade.

Pop Evil

The second opener was Pop Evil, which was a very different kind of metal entirely. More thrashy/nu-metal crossover with a bit of nineties alternative mixed in there. These guys had good thump, but this isn’t a style that I personally find enjoyable, and I admit I started to get fidgety in anticipation of the main act.

Sabaton

At last, the band we’d been waiting for took the stage. I turned with breathless excitement to my friend and warned him that I might “fanboy out a bit”. This did happen.

First of all, Sabaton have a great stage setup. As you can see from the photo, it features a full-scale model of a First World War tank that the drummer perches on. There’s also a model piece of artillery to the side. With such initial promise, would this show feature explosions and smoke? Reader, it did, and plenty of it.

The band played tight and energetically and had a very knowledgeable and willing crowd eating out of their hands throughout the show. We sang along, we pumped our fists on demand and joyously participated as Sabaton rocked out.

The band has been doing this for a couple of decades now and their resulting mastery of the stage was on full display. They played off each other (often kidding each other with sight gags during songs and self-deprecating banter between them). Broden is a natural showman and brings levity and excitement to songs that are sometimes about heavy topics.

Unison singing is a big part of many Sabaton songs, and everyone brought their A game. There was even a trio of sexy (and talented) backup singers lending some higher range to the tunes.

In terms of setlist, I got almost everything I wanted, with two of my three favourites from “Legends” (see above) being played. Sadly, they also played, “I, Emperor” but even though I still didn’t like this song, it was markedly better live.

Other standouts for me included rousing renditions of “Bismarck”, “Fields of Verdun”, and “Night Witches”. The only one I really wanted to hear that didn’t make the setlist was “Winged Hussars” but hey, you can’t have everything.

Weirdly, there was no encore but that was OK with the show naturally wrapping up with a crescendo of bangers and a very theatrical series of bows (the band, Broden alone, the band with the backup singers, etc.) followed by the very welcome tossing of drumsticks, guitar picks and even the setlist sheet into the crowd.

I am always a little leery of stadium shows with “older” bands, but there were no concerns here with either sound quality or energy levels, and it was a rollicking, fist-pumping good time. Well worth the trip.

CD Odyssey Disc 1909: Josh Ritter

Welcome back. Today I review a good record, and then a great concert.

Disc 1909 is… I Believe In You, My Honeydew

Artist: Josh Ritter

Year of Release: 2025

What’s up with the Cover? I also used to take my bow out in the woods as a young boy, but there are a couple of key facts that let you know this kid is Josh Ritter, and not me.

First, this kid is wearing shorts. As a kid outside of gym class, I never wore shorts. I didn’t like ‘em. I think they’re fine now, provided it’s warm enough out, but I’m still against sandals. On this latter point this kid version of Josh and I agree.

Second, I had a way more impressive head of hair than this kid. Sorry Josh, but my hair ruled as a kid. It ain’t now what it used to be but back in the day my curls were so big and tight they could repel rainwater.

How I Came To Know It: I’m a fan and so I always check out Josh Ritter albums. I don’t always like them, but since I knew I was going to see him on this album’s tour, it was a safe bet I’d buy the record. And here we are!

How It Stacks Up: I have six Josh Ritter albums. He has thirteen albums, so as you can guess, he’s not an “always” thing for me. “I Believe In You…” is on the edge, so I’ll rank it sixth. Last in my current collection, but still middle of the pack overall.

Ratings: 3 stars

I like my Ritter on the folksy side, with the production a little undercooked. Ritter likes his folk on the rocky side, with his production varied and unpredictable. There are whole records where he pushes me too far and I must wag my finger at full arm extension, as I tilt my head back imperiously and declare, “You cut that out! I won’t buy it, Josh, I won’t!”

His latest release, “I Believe In You, My Honeydew” is, fortunately, not such a record. It has much to recommend it, but is still a microcosm of the Ritter experience, as he slides in and out of styles and tries on different arrangements like a royal in a fancy hat store.

The opening track “You Won’t Dig My Grave” is ground zero for Ritter, with its urgent half-spoken, half-sung style and a mix of electric guitar and piano trilling away in a style that would make Bruce Hornsby proud. It’s solid, but not a “must have” situation – particularly for a fellow who has already shown clear evidence that Ritter and I have a relationship that is on-again, off-again by nature.

The next song (“Honeydew (No Light)”) has a groove that tried very hard but doesn’t quite land (it is hard to funk up the folk and should be attempted only with great caution). When the reverb guitar and feedback/record scratch sounds start popping into the bridge I could feel my wagging finger rising, unbidden, from my side.

But then, on track three Josh Ritter does what he does – dropping one of the finest songs he’s ever done. “Truth Is a Dimension (Both Invisible and Blinding)” is what will always and eternally bring me back into Ritter’s orbit.

Held together by just the deliberate pluck of a single acoustic guitar, “Truth Is a Dimension…” is the narrative of a man who smokes a J, and while stargazing discovers intelligent life in the universe. Well, that’s the bones of it anyway.

In fact, it is so much more. This is a song about life, the subjective nature of truth, the impact of the observer on the observed (both externally on the world, and internally on our thoughts). It muses on the nature of the multiverse but eventually comes around to only one certainty: there’s love, there’s loss, and there’s great art – and that’s the truth.

After a relatively shaky start Josh now had me and he wasn’t going to let go. Does he go back again to that half-funky/groovy thing he does which sometimes works and sometimes feels like the musical equivalent of a smirk? Yes, he does. When you’re as gifted a songwriter as Ritter, you’ll always ride the line between smart and smart-ass. Ask Dylan. He won’t answer the question directly, but he knows.

And some of that frantic approach to the record that I had earlier viewed askance I now better appreciated for the range it was providing. As the record progressed some of the excess energy took on a decidedly church-like quality, aided by Ritter’s careful and considered use of religious iconography on songs like “Noah’s Children” and the refrain of “I hear a higher calling” on “Wild Ways”.

This pulpit-like approach culminates on the record’s final track, “The Throne” which channels greats like Nick Cave and Leonard Cohen at their most devout. Ritter holds up well with these masters. Were there some merely OK tracks between “Truth is a Dimension…” and “the Throne”? Sure there were, but in the glare of the church chords of the piano and the rock peel of the electric guitar, Ritter dispenses wise and inspired observations about life, and once again all is forgiven.

Josh Ritter is a great songwriter, but he’s not one for chasing empty crowd pleasers. His albums can go a lot of directions, and not all of those directions are going to tickle your fancy. Always brilliant and occasionally annoying, “I Believe In You, My Honeydew” was an acquired taste, laden with five-star brilliance and two-star filler. But damn it if on balance the old master didn’t win me over again.

Best tracks: Truth Is a Dimension (Invisible and Blinding), Noah’s Children, Wild Ways, The Throne

The Concert: March 19, 2026, Mary Winspear Centre, Sidney, BC

Heading out to Sidney with Sheila and our friend Casey (kudos to him for driving us), I wasn’t sure what to expect. I knew I liked Josh Ritter, but I wasn’t always keen on his production choices. But as I walked into the plush and cozy 300-seat of the small-town auditorium and saw two single acoustic guitars perched behind some Christmas lights and a lone microphone stand, I knew all was going to be well.

Thing weren’t just well, however – this ended up being one of the best concerts I have ever seen. Ritter is a born entertainer and with a stable of impressive and expressive songs built across two and a half decades, he’s got the ammunition to go with it.

The first thing that jumped out at me was Ritter’s pure and unconditional joy at just being there. His grin is infectious and the first words out of his mouth were to indicate just how thrilled he was to be performing for us. It wasn’t one of those “how are we doing tonight, Sidney?” pandering moments, either. He was happy to be there, and it showed.

Lacking a band did not prevent Ritter from creating layers of sound. He wields his guitar with a busker’s skill for making percussion, with slaps on the body and well-placed hammer-ons on the fretboard. He stepped in and out of the mic as well, creating all manner of sound while never losing that clean acoustic sound I was hoping for.

His guitars were worn and well-used, with pick guards down to the raw wood. They looked well-loved and fit right in with Ritter’s casual and unassuming style.

As for the songs, he played almost every one of my favourites from the new record (the only absence was “Noah’s Children” and frankly, of the four favourites listed above, it is #4). The others weren’t just played, they were elevated, making me love the latest record in ways I hadn’t during the studio listen.

The old standards were well chosen, and he had a knack for mixing slow contemplative pieces in with bangers, moving the energy up and down while never losing the room. A couple of times he appeared to chose a song on the spur of the moment, exclaiming “I just had an idea!” and then giving that idea a go.

The banter was also first rate, always giving additional flavour and energy to the performance and never just resorting to “explaining” a song. When he played his classic hit “Kathleen” he actually took an extended break mid-tune to tell a hilarious yarn, before returning to the final verse, showing that there is a way to keep a song fresh, even if you’ve played it a hundred times.

There were a few times where he made a mistake – usually missing a lyric or coming in late as he remembered at the back of the beat. Once he even started over again entirely. It was weirdly fine, and at times even welcome. It underscored just how thoroughly he threw himself into the moment. It happened rarely, and when it did you were on the journey with him so much, you just laughed along with him in what was less an error and more a “campfire moment” among friends.

This was one of those shows that elevated the spirit. At times you lose yourself in Ritter’s imagery and metaphor. At other times you get lost just as he does in your own thoughts, inspired by his art. I came away with a cup full of love, deep thoughts and overall gratitude that I’d gotten a chance to see him in such an intimate venue.

If you get a chance to see this guy in concert, don’t miss it.

CD Odyssey Disc 1906: William Prince

I apologize the stretch between posts. This was a combination of a heavy work schedule and being out on Tuesday night at a concert when I’d ordinarily be at home writing.

On the plus side this means that we get a bonus concert review – it appears immediately below the end of this studio album review, as is traditional here at the Odyssey.

We also have a new streak to track: albums made by people named William. As of this next record it stands at two.

Disc 1906 is… Further From the Country

Artist: William Prince

Year of Release: 2025

What’s up with the Cover? The aforementioned Mr. Prince, looking contemplative against a backdrop of sunset and stars.

How I Came To Know It: I was already a fan of William Prince through his 2020 album “Reliever” (reviewed back at Disc 1476), and check in on his new albums when they arrive.

How It Stacks Up: I have two William Prince albums. Of those two, “Further From the Country” narrowly lands in second. No shame – I just liked “Reliever” slightly better.

Ratings: 3 stars

Life’s not fair. Some of us get our one and a half octaves of scratchy/dodgy tenor and some of us get the rich velvet baritone of William Prince. Fortunately, through the power of technology, that glorious voice can travel with us in our homes, cars and walks. I had this record going for a full week and enjoyed it in all three of those venues.

“Further from the Country” is aptly named, as Prince explores arrangements and approaches that feel more atmospheric and mystical than previous efforts. No doubt this is partly the influence of members of Boy Golden.

That said, the opening – and title – track had me nervous. It was a bit too meandering and atmospheric for my tastes, and I felt nervous that my beloved baritone troubadour would be drowned in a soup of production.

Alas, my fears were ill-founded as after that opening experimentation, Prince returns to a more well-trodden country foundation. Yes, it’s a thicker sound, and there’s a piano rounding things out, but the tunes still have their foundational bones in back roads and pickup trucks, just as I like it.

The songs have the usual introspective qualities of William Prince’s earlier work, many focusing on exploring memories of his father, or just earlier wilder times. The songs don’t celebrate that wildness but rather seek redemption for any hurt caused along the way.

The best song for this (and my favourite on the album) is “All the Same” which starts with this heartbreaking scene:

“I had a good friend
Life cut short by his own hand
Everybody but his old man
Seemed so surprised

“He was a younger man than I
Didn’t think to say goodbye
Now the last time that we spoke’s the last time.”

Hard words, but Prince has a talent for taking on hard subjects – suicide, substance abuse, violence – and giving them grace and a safe place to explore from. It isn’t sugar coated, and lines like “and my hand’s messed up/from a fight I had to finish” shows that it ain’t ever as simple as just saying, “don’t do that”. Life’s complicated, but forgiveness is there if look for it.

The other standout is “The Charmer” a song dedicated to Prince’s father, a gregarious fellow who right to the end was even charming the hospital nurses. The love is evident, and the gentle, meaningful ways that Prince explores loss – supercharged with the velvet power of a voice – is transformative.

There are some songs I didn’t love. As noted above, the opener was too diffuse and unfocused for me, and “Thousand Miles of Chain” felt like a song that didn’t know what it wanted to be, but these are minor quibbles. Overall, another fine record from an artist who still has the magic in both his voice and pen.

Best tracks: For the First Time, All the Same, Damn, The Charmer

The Concert: March 2, 2026 at the Royal Theatre, Victoria BC

I always enjoy a show at the beautiful Royal Theatre, and we were particularly excited (thanks to Sheila’s excellent selection) to have seats right on a break between rows, leaving plenty of legroom. Mostly, though I was excited to see not one, but two artists I like, having just found out earlier in the week that the opener was Boy Golden (his previous release, “For Jimmy” was my #1 album of 2023 (Disc 1699)).

Boy Golden

Boy Golden took to the stage with the self-possessed dignity of a band that knew they would own it, and did not disappoint. My previous time seeing them there was a jubilant slightly manic feel to the performance. That energy was still present, but it had softened around the edges and their ability to hold the crowd in more subtle ways was on display.

The band played a short but well-structured set that included old favourites from previous records, but focused on their new material which was, according to frontman and creative force Liam Duncan, “mostly bangers”. Sure.

The guitarist (name escapes me) played with a sublime softness in his tone that suited the blend of country wisdom and grass-stained feel of many of the songs (n.b. – not the kind of grass you lie down on). He had three guitars and one had an incredibly large whammy bar. I know it’s not about the size of your whammy bar, but how artfully you pull on it, but still, just sayin’. It was large.

The drummer (apologies – again missed her name) was well loved by the audience and had a set of pipes on her she showed off in two songs (one as a lead, one as a duet). She played portions with brushes that leaned into the soft and rounded feel of the guitar.

I was sad to see Boy Golden off so early (the fate of all openers) and much as I love William Prince, if I’d had my druthers I’d have swapped headliner and opener.

William Prince

When William Prince came on stage there was a prolonged period where the stage was black and ambient music played and it all felt very psychedelic rock and roll for what was, ultimately, a country show. I kinda liked it, and it primed the crowd and made sure everyone was paying attention.

Including himself, Prince fronts a seven-member band which is a lot of members for someone who isn’t, you know, Prince. One more band member and Canadian law would have required all the songs to be played as ska.

The set list was exactly the right mix of new and old, and if anything I enjoyed the records off the new album better live than on CD, which is always a good sign. (If Neil Young had been there, he’d have moved a motion that “live music is better” bumper stickers be issued. IYKYK…

New album highlight was the song “The Charmer” in honour of his father, and he gave the audience (including me) what they wanted with the old favourite, “The Spark”. I would have liked him to work “The Gun” into the set, which is one of my old faves, but a concert should always leave you wanting more.

During the encore the audience (many of whom were clearly veterans of Prince’s live shows) shouted out tunes, and to my surprise he agreed to play one – “Goldie Hawn”. I’m pretty sure it was improvised, partly because he briefly jumped a verse, before correcting himself with an impish smile that shows he has inherited no small part of the “charmer” from his father.

Prince has a truly thankful and humble quality to him that draws you in and makes you feel he’s as happy to be there as you are.

As for the crowd, they were one of the best crowds I’ve spent an evening with in some time. They were thoroughly engrossed in the show, gave great feedback and were careful to not be disruptive of other people’s good times while having theirs (one woman stood up in front of people during “The Spark” but it was one song only and she was really excited to hear it, so we shall give her a pass).

Best of all, there were nary a cell phone raised anywhere in my vision. Apart from a few discrete pictures people were there to engage with the music directly, not prove later on Tik Tok they’d been there. Awesome, and something for us all to learn from.

Sheila and I talked to the folks sitting near us, all of whom loved William Prince a lot - one couple had seen him seven times. All crowds should be this great.

The merch table was also solid, with a good selection of shirts n’ stuff. One guy sitting nearby said to me “that stuff is all garbage” but he was speaking generally of merch tables, not this merch table. Also, he was wrong. It’s another way to support the band, mister and also keeps me from being denied service at local restaurants for want of a shirt.

Overall, this was a fine show, with two great acts, both of whom I’d seen before, and both of whom I would see again.

CD Odyssey Disc 1872: The Beaches

Welcome to a bonus content review, wherein Your Humble Author both provides a review a studio album (as per our longstanding social contract) and also some thoughts on a live show in support of same. If you just want the review, it follows immediately. If you just want the concert review scroll down past the review.

But don’t do that. Get the full benefit of your primary school education and show those studies about the internet destroying your ability to focus who’s boss. Read the words.

Disc 1872 is… No Hard Feelings

Artist: The Beaches

Year of Release: 2025

What’s up with the Cover? The actual cover for this album is a close up of a woman wearing a white bra, nipple shining through the fabric like a dark star. Not that half-nip that Prince teased us with back at Disc 1833. Full – albeit diffused – nip. I have no strong knowledge of content expectations on either of the platforms this review will appear on, but I’m going to err on the side of caution, so if you want the actual cover you can see it on this Wikipedia page.

Instead I offer you this (not very) exclusive viewing of…the back cover! Yes, proof positive I actually own the album.

This should totally have been the cover, and it shows the four members of the Beaches evoking a “coolest girls at the party” vibe. Which is exactly what they are.

How I Came To Know It: I have been a fan of the Beaches since 2018, when my friend Nick said, “hey, there’s this pretty cool band called the Beaches playing a show in town – want to go?”

I did go I’ve been going to their shows and buying their records ever since. Thanks, Nick!

How It Stacks Up: I have either four studio albums and three EPs, or three studio albums and four EPs (it’s complicated). Due to precedent established on earlier reviews, I go with the 3-4 over the 4-3 for…reasons. Of three studio albums “No Hard Feelings” comes in second out of three.

Ratings: 3 stars but almost 4

The Beaches know how to make great music, and they’ve been doing it for a long time. I was excited to dive into “No Hard Feelings” but on my first listen I wasn’t sure I was going to like it. They have definitely continued to move away from their earlier sound into what I feared would be a more “generic” approach. However, multiple listens won me over – aided by a well-timed live show (more on that later).

“No Hard Feelings” deploys the Beaches’ most complex arrangements yet, which is not always a feature, as I favour stripped down production over a lot of layers. I found myself initially wanting a little less going on. However, after multiple listens the top-notch songwriting (lyrically and melodically) won me over. It also helped to get a couple rounds in on headphones. Free of the background growl of my car engine, I was better able to catch the nuance and creativity I think the band was going for.

Thematically, the Beaches love to dig into relationships, and a lot of their best stuff explores the ones that didn’t work out. All those break ups must be trying for the band members, but they sure know how to convert all that drama into great songs.

They’re also not afraid to explore the not-great choices that can happen during a breakup. Nasty “I hate all the things about you” lyrics on “Can I Call You in the Morning?” are paired nicely with Jordan Miller literally singing to herself immediately prior “Don’t do it, Jordan don’t do it.” Of course she does, which is both raw in the moment and brave after it, and results in a great song.

While the record has LOTS of break up/party songs (and ‘party after a break up’ songs that do both), the Beaches are more than just party girls. “Lesbian of the Year” is a thoughtful and vulnerable exploration coming out later in life that grounds and “quietens” the record at just the moment that’s needed.

Whatever the song, the vocals of Jordan Miller continue to star. Throaty, playful and totally unique, she has a talent for phrasing and emoting that ensures that every emotionally complex song on the record, despite all the production bells and whistles, will still make you feel the feels.

In the end, “No Hard Feelings” is a master class of how to make a fun album full of party-oriented music without ever shying away from the darker side of why we sometimes party a little too late, drink a little too much, or shout a little too loud. It isn’t easy to have a great time while still 100% owning your shit, but the Beaches have the formula down, and once again we – their audience – are the beneficiaries.

Best tracks: Can I Call You in the Morning?, I Wore You Better, Dirty Laundry, Lesbian of the Year, Jocelyn

The Concert: October 25, 2025, Save-On-Foods Memorial Arena, Victoria BC

This was my fifth time seeing the Beaches live, so I already knew what to expect in terms of their high energy, brilliant showmanship and talented musicianship.

We arrived early for the merch table, and a good thing we did, as the lineup was enormous. I love a good concert tee so while I held our place in line, Sheila went forward armed with phone to take a photo of the options. This is a good strategy if you want to avoid being a slack-jawed gawker when you finally get to the front (n.b. – you want this).

In this case, it allowed Sheila and I to assess that none of the options struck our fancy. I now have a LOT of concert tees, and I am becoming more picky. Tees that just feature a photo of the band are generally out, and that’s most of what was on offer.

Fortunately, I already have two Beaches concert tees, including a very old “original logo” one that I was wearing, secretly hoping someone would say “wow – cool old tee shirt” or failing that, that I’d overhear someone whispering, “wow – that guy has a cool old concert tee.” These hopes overlooked the fact that as a middle aged man at a concert full of the Youngs, I was mostly invisible. Whatever – I was the only one wearing it so…go me.

Anyway, we bailed on the merch and instead stood around in the common area people watching for a while, before taking our seats.

Valley

The opening band was another Toronto band called “Valley” which does music in the same general genre of the Beaches. Sheila (who, unlike me, listens to the radio) said that she knew some of the songs from there. According to the Internet, Valley was even nominated for a Juno (Canadian Grammy) in 2025. So, neat.

Anyway, Valley played inoffensive and occasionally catchy pop tunes that are exactly what I expect from the radio when it is having a good day, but also why I don’t listen to it. It felt like what you’d hear younger kids playing around their campfire next to you at the beach. Not offensive, and it could have been worse, but just OK.

The set notably improved for the one song where main vocalist Rob Laska turned the mic over to bandmate Karah James (sorry, Rob), but that was only for one song.

Valley had good energy overall, and I bopped along, but about halfway through I knew I would not be exploring their music further later, which is the main goal of any opening act.

The Beaches

The Beaches took the stage as they always do, with energy already dialed all the way up to ten. This was their first ever indoor stadium show as a headliner (they’d come to town opening for The Glorious Sons in 2018, but I’d already seen them live earlier that year as a headliner, and so I skipped that show. Also, I find the Glorious Sons very ‘not glorious’).

Any concerns that the stage would be too for them was instantly dispelled. This quartet of talent has been doing the live show thing for over a decade and all that experience and dedication has paid off. Everything they do that is awesome – the banter, the moves, the tight yet organic performance - translated 100% to the bigger stage. I generally do not like stadium live shows, but the Beaches did things up right.

The set was predominantly songs from their last two albums, and as I noted in the album review above, hearing the new album performed live I realized that it was written with this partly in mind. It elevated those songs and made me appreciate the new record in a way I hadn’t before. That’s the mission of the headliner and…mission accomplished.

It even rehabilitated their overexposed hit, “Blame Brett” which I thought I had heard enough time for a while at this point. Instead, with the lights and the crowd participation and the delivery, the joy of this catchy bit of pop magic was reborn. A true stadium banger.

Everyone in the band is a natural on stage, but none more so than frontwoman Jordan Miller who had the audience in the palm of her hands throughout and clearly loved and fed off the experience.

The Beaches are pretty strict about sticking to their new material, and this show heavily featured songs from their last two records, but they did a special section “just for our Canadian fans” of old songs. I’ve never seen them do this before and hearing early tunes, including some of my favourites from 2017’s “The Late Show” (concert and album reviewed at Disc 1131) was a special treat. They updated the delivery, so I wasn’t hearing a staid performance of old tunes, but rather a reimagined delivery of tunes with bones so strong they sound good through any treatment.

It was also fun when Leandra Earl dedicated “Sorry for Your Loss” the LA Dodgers, while wearing a Blue Jays jersey. Lest you wonder where the loyalty of these Toronto gals lay in the ongoing World Series.

The show opened and closed with their latest banger, “Last Girls at the Party” and that’s exactly what the Beaches are. They are also the life of the party, and if you get a chance to see them live, you should do it. If you skip the opportunity, well then – as band member Leandra would say – I’m so sorry for your loss.

CD Odyssey Disc 1861: Sleater-Kinney

Welcome to what will be another rather long and involved article. No childhood trauma this time – instead following the album review I shall share some concert reviews from the annual Rifflandia festival. Many artists to grok, one of which we shall profile in this next album review!

Disc 1861 is…Little Rope

Artist: Sleater-Kinney

Year of Release: 2024

What’s up with the Cover? The Gothic horror fan in me loves this cover. It appears the woman on the couch has accepted a date at the house of the woman on the (upper) left, only to find that she is in the lair of…a vampire!

Is it the drawn curtains that gives it away? The red walls and outdated (yet timeless) décor? Maybe these things, but definitely the fact that her host is currently floating up the wall.

Will this end with an amorous encounter? A bloody murder? Most likely both because…vampires!

How I Came To Know It: I’m a Sleater-Kinney fan. This was just me buying their latest record because I like them.

How It Stacks Up: I have six Sleater-Kinney records, divided evenly between their original run and their more recent work. The old and the new are similarly even in their quality, and “Little Rope” comes in at a respectable third.

Ratings: 4 stars

“Little Rope” is proof positive that a band can continue to create compelling music a full quarter century into their run. It features the best of both worlds: the snarl and punk edge of early Sleater-Kinney albums like “Dig Me Out”, and the addition of some subtle nuance to both song structure and delivery that comes with the advantage of age and experience.

In no way does this suggest Sleater-Kinney has softened over time. Yes, the sound has a rounder edge in places, but it is deployed deliberately and purposefully to give the record dynamics and keep your ear interested.

Corin Tucker’s vocals have matured beautifully over the years but have lost none of the hurt in the process. The result is that like the arrangements, there is variety and interest and while there are songs like “Say It Like You Mean It” that stray close to mainstream rock radio, the band never fully leaves the alternative ‘outsider’ space that made them special in the first place.

Sleater-Kinney purists may note that original drummer Janet Weiss is no longer in the band, which is sadly true, but this is no reason on its own to avoid “Little Rope.” In fact, while Weiss is amazing, the drumming (and percussion overall) from Angie Boylan is solid and the band’s overall signature thump survives.

Also, the dual guitar action of Brownstein and Tucker continue to squeeze every ounce of hurt and harm out of their instruments. Brownstein plays with a controlled violence that makes every bar a heavyweight bought between her and the axe. Neither player nor instrument wins, but the struggle between them is rock and roll in its purest form.

Lyrically, these songs are full of raunch and doubt and rage, mixed together to showcase a visceral wisdom. As Sleater-Kinney notes on “Hunt You Down”

“The thing you fear the most
Will hunt you down”

But they make it clear through the music that even the things we can’t bring ourselves to confront will meet us in that tumultuous space where poetry and guitar collide. Therapy and wisdom through amplified sound.

In their Rifflandia appearance, Sleater-Kinney played a host of songs off this album, and I welcomed every one, right alongside long-time crowd-pleasers. Their recent work is celebratory, revelatory, and – for the band’s growth through time – evolutionary. “Little Rope” is a worthy addition to the catalogue of a band that continues to push themselves to make great music.

Best tracks: Hell, Say It Like You Mean It, Hunt You Down, Crusader, Dress Yourself, Untidy Creature

Concert Review: Rifflandia Festival 2025 – Victoria BC

[n.b. – if you want photos of the event and a peek at our weekend adventure, check out Sheila’s fabulous blog entry here].

For those readers from away, every year Victoria has a couple of big multi-day outdoor music festivals. Unsurprisingly, I usually go to them. Rifflandia is one of these, and in addition to Sleater-Kinney (review below) many bands were enjoyed. Others, as is the rule of festivals, were endured.

This year’s festival had only one stage. This was both good and bad. The good news was you didn’t have to pick what band you wanted to see (I am still mad at myself last year for skipping the Cro-Magnons in favour of the Crash Test Dummies. Fail).

The bad news was that the sound folks had less time to get their act together and, at times, it showed. Generally things would pull together but there were moments where I was like “is that guy’s mic even on?” Overall OK, and a bug of music festivals where multiple artists have to share the same stage that shall never be truly solved.

The great news is that this year we went in for a “pod” with six other people (thank you to my friend Linda for inviting us). There are only six total pods and for basically double the price of the festival you get a front row seat, ‘in-pod’ drink and food service, a bunch of actual ‘seats’ (instead of standing for 10 hours) and a semi-private port-a-potty. As a middle aged man with a nervous bladder and a dodgy lower back, these last two items were key features.

I’ve just seen a lot (13) of bands so the recap will perforce be quick:

Friday:

Hollow Coves: These guys are a folk/pop band from Australia. I was excited to see them but ultimately they were a bit too smooth for my tastes. Kind of had a “I just listen to whatever comes on the radio” vibe. I did not pay attention like a good fan should, but they gave me little reason to.

Macy Gray: I was not excited to see Macy, but she ended up putting in a solid performance. She did a cover of Radiohead’s “Creep” which was not only good but had me thinking, “If you are not going to play your popular songs, Thom, someone else will.”

Descendents: Eighties punks that are still killing it. The lead singer looked like Drew Carey but sounded like Henry Rollins. This was awesome, and I’ll be seeking out more of these guys. So good, I bought the shirt.

Shakey Graves: I have one Shakey Graves album, (2014’s “And the War Came”) and generally don’t like his other records. That held up here, as I was unimpressed with his pointless overuse of feedback, noodles so indistinct they barely qualified as noodles, and a general overestimation of how good he thinks he is. I enjoyed “Dearly Departed” and otherwise I was irritated. Shakey Graves paid “tribute” to Ozzy by trying to wreck a cover of “Supernaut” but fortunately that song is so good it is unwreckable.

The Funk Hunters ft. Chali 2na: I know Chali 2na from his work with Jurassic 5, so I was pretty stoked for this show. The Funk Hunters are a dance/electronica duo he’s teamed up with. Chali 2na was incredible – proof that old rappers can still remember their entire chain of rhymes across multiple verses if they want to. The Funk Hunters were fine, but in their extended sections I mostly waited patiently for Chali 2na to return.

Public Enemy: These rap warriors are still bringing it as well. Great energy, Flavor Flav was on fire, and I heard most of what I wanted to hear. Well, portions of it – as the show went along I got that ole hip hop treatment of snippets of songs being played and then a repeat of the hook. As good as they were, and as much as I am learning this is often the risk at a hip hop show, it muted my enthusiasm.

Best of the Day: I’ve got to go with the Descendents.

Saturday:

Wyatt C. Lewis: Wyatt C. Lewis is a singer-songwriter from the Prairies. He has a band but it often feels like just him and his guitar, drawing you in to his personal confessionals. I really dug him and will be seeking out his stuff.

Billianne: Billianne (yes, her actual name) is an indie pop singer from Toronto. I was expecting to like her and while she was overall solid, she did not inspire live. I will not be seeking out her stuff.

Sleater-Kinney: The reason I came on an otherwise light Saturday lineup, and they did not disappoint. Carrie Brownstein and Corin Tucker still bring it.

Tucker’s vocals still have their sharp and distinct warble, and unlike Shakey Graves, Brownstein knows how to make an electric guitar spark and growl in all the right ways. Brownstein switched guitars halfway through to an aqua number with a giant whammy bar. Yes, dear reader, she whammied.

She also bounced around the stage with a carefree energy that was strongly reminiscent of a young Pete Townsend.

Best of the Day: Sleater-Kinney by a mile.

Sunday:

Jake Vaadeland & the Sturgeon River Boys: If you want old timey music made young again then is this ever the band for you. Jake Vaadeland looks like a young lad, but (to quote fellow Rifflandian William Prince) dude has an old soul. He and the Sturgeon River Boys were a delight and another festival highlight, as they engaged in delightful banter that was clearly rehearsed, but so well delivered I didn’t mind. He also plays a mean guitar and banjo and writes songs that sound as old as Bill Munro but…aren’t.

Dirtwire: A duo of dudes who look like they’re gonna drop some Alan Jackson style country on you, but instead play a mix of electronica, sequencers, and every interesting instrument from the four corners of the globe. I could only name about a third of them, and half of those required the Google. This was intriguing to witness but musically was a bit ‘one-note’ for a band with that many options at their command. The one-note reminded me a lot of nineties one-hit wonder Rednex (remember “Cotton-Eyed Joe”)?

William Prince: The aforementioned old soul himself, William Prince brought his velvety baritone to the stage as evening settled in. Prince was a consummate professional and played and sang with clarity and heart. While some of the songwriting was uneven, Prince was still great throughout, and it if weren’t for Jake Vaadeland he’d have taken first place.

Walk of the Earth: If only they had. I had a soft spot for this band, as the female lead singer Sarah “Sin” Blackwood used to sing for a beloved psychobilly band, “Creepshow”. Read more about her time with Creepshow at Disc 1077.

Her work in Walk Off the Earth on Sunday night? Not so much. The band did a pointless and uninspired set of “reimagined” covers that mostly made for an excuse to show how the band could all play a single song simultaneously on a giant multi-necked stringed instrument. Clever, but more of a variety show trick than a concert.

But the real horror was still to come, when they left the stage to a bunch of kids (maybe theirs?) who looked to be maybe 10-12 years old. I never had kids. This means I’ll never get to give one away, send one to college or be visited by one bringing me flowers in my dotage. I am at peace with this. It is also supposed to mean I never have to suffer a Grade 5 Christmas concert simply because my kid is in it. That was a huge win for me, Walk Off the Earth, and for twenty long minutes you robbed me of it.

Best of the day: Jake Vaadeland & the Sturgeon River Boys

At this point it was a bit cold, and we were a bit tired. Not feeling inspired by the final two headliners, Sheila and I called it a day and headed home. We’d seen thirteen bands in three days, had a lot of great festival moments – some with close friends and some with random strangers. Overall it was a lot of fun, and I look forward to the announcement of next year’s lineup.

CD Odyssey Disc 1811: The Handsome Family

As long-time readers will know, when I go to a live show I like to pair a review of that show with their most recent album. That’s what we’ve got here! So if you like just studio album reviews, here you go and if you are wondering “yeah, but what are they like live?” that follows immediately after.

Disc 1811 is…Hollow

Artist: The Handsome Family

Year of Release: 2023

What’s up with the Cover? In addition to being a talented musician Handsome Family member Rennie Sparks is also an artist, and this cover is one of her paintings.

Here we have a snake in a reed-clogged culvert. This is a fine place for a snake, unless you happen to also be hiding in that culvert, maybe after a jailbreak or bank robbery gone wrong. Then you’ll wish the snake would just move along. Then again, maybe local law enforcement would take one look and remark, “he’d be crazy to go into that snake-filled culvert” and go search elsewhere, thus securing your escape.

Unless you get bitten and die while waiting them out.

I guess what I’m saying is whether a snake in a culvert is a good thing or a bad thing is highly circumstantial.

How I Came To Know It: I have been a Handsome Family fan for about ten years and buy their albums as they come out. This proved more difficult than usual with “Hollow” as I couldn’t find a CD version anywhere. I bided my time, however, and eventually was able to snap it up from their merch table at a show last weekend.

How It Stacks Up: I now have 13 Handsome Family albums, which, given their penchant for dark, ill-omened tales, feels right. Of those 13, “Hollow” comes in at #11. This is not a bad thing it is just that the Handsome Family have a lot of great records.

Ratings: 3 stars

“Hollow” is the first album by the Handsome Family (aka husband and wife team Brett and Rennie Sparks) in seven years. I’m good with artists taking as much time as they need to make great art but man, that was a long wait.

It is hard to wait on a new Handsome Family record, because while you are waiting there isn’t anything else that’s going to fill that gap (other than relistening to old Handsome Family records). Their mix of folk/country with Gothic horror is a style all unto itself. As Rennie Sparks herself noted at the live show (reviewed below), when she wants to hear a song about the sound a cement truck makes, and there isn’t one, she’s got to go write it herself.

Rennie is the lyricist of the pair, and while there are no cement trucks on this particular record, there are plenty of oddball and unexpected images to go around. Sparks’ imagination is deep, weird and dark in equal measure. If you like those kinds of things in your writing you will have a very good time listening to their latest.

It is hard to pick a favourite image from a record dripping in this much poetry, but I offer this little tidbit from “The Oldest Water”:

“The first living cell
Growing fat in the shallows
Met the first stranger
When it split down the middle

“But once made separate
There’s no going whole
Water loves melting
Flesh eats alone.”

No one makes science and nature quite so cool as Rennie Sparks. In addition to science, this bit of joy also introduces us to the notion that the same moment that birthed companionship for the first time, also introduced the awareness of isolation. A little body horror is thrown in for good measure that would make David Cronenberg proud.

In other places Rennie shows her softer side, with the pastoral “Shady Lake,” that is an immersive journey into the mystery and wonder of nature.

As poems alone this would be a joy, but Brett Sparks brings prodigious musical talent to the songs that adds layers and emotionally complexity. The best melody on offer is the album’s opening track, “Joseph” principally because of how it creates a hymn-like quality even as it tells the tale of what I think is serious bit of haunting, and maybe a summoning. Brett takes Rennie’s ever off-putting (but delicious) words and generates an unexpected feeling of elation. You won’t be afraid of Joseph’s arrival, but only because Brett’s reassuring baritone lets you know it’s going to be OK.

I should note at this time that I don’t definitively know what any of these songs are about. I learned at the concert that the inspiration of the work can vary from the final product when the Handsome Family get their writing hats on. I prefer to confront art directly without a lot of backstory whenever possible, so this is just what I took from it all after a few listens. Whatever Brett and Rennie tell you these are about is correct – the stories are theirs.

If there was anything negative, I think it is only that the record suffered unfairly from familiarity. I know exactly what the Handsome Family are going to sound like, and my soul is already overstuffed with favourites, making it hard to add more. “Joseph” felt the newest in terms of approach, but otherwise it was more of the same, although here and here I longed for the more stripped-down approach from previous records. This is a minor quibble, and for the most part it was great to get another helping of Handsome Family magic after so many years away.

Best tracks: Joseph, The Oldest Water, Shady Lake, Good Night

The Concert: March 8, 2025 at the Biltmore Cabaret, Vancouver

The Handsome Family is one of a few bands I’m willing to undertake an overnight plane ride to Vancouver and back just to see live. By the time you count airfare and hotel, this is an expensive outing, so my desire to see the band has to be significant.

This was my first trip to the Biltmore cabaret, which is in East Vancouver and generally described by online reviewers as a “dive bar”. I have known many a dive bar in my time, and was not deterred by such descriptions.

Upon arrival I did find it a bit divey, but not in a bad way. More of a neighbourhood local kind of way, with sumptuous red velvet bank seating along the walls and a few high stools here and there. The crowd was rough at first sight, but universally friendly and welcoming as soon as you got to know them.

Case in point: we arrived a bit later and all the primo seats were taken, but Sheila fearlessly approached a couple of women in their sixties and asked if we could join them in their banquette. We were welcomed with open arms.

After hitting the merch table a bit hard (I’m a sucker for merch) we settled in for the show.

Early on, singer Brett seemed to struggle a bit with his mic work (or the mic was touchy) and we’d lose him if he leaned out too far, but like a true professional within a song or two he had the range down and was making magic happen.

After many years he and partner Rennie have their banter down to an art form, and if the bits they did between songs were rehearsed they sure sounded organic to me. Open-hearted, opinionated and warm, Rennie takes the role of delightfully weird Goth lady with Brett playing the crotchety straight-man. It was just the right amount of chatting to whet your appetite for the next song without ever over-explaining.

The Handsome Family have a catalogue as expansive as it is dark and creepy, and they played music from throughout their career, with a good mix across the years that satisfied the ravenous fanboy within me.

They played many of my favourites, including “Bottomless Hole”, “The Loneliness of Magnets”, Weightless Again” and “24-Hour Store”. Yeah, I was disappointed not to also get “Cold, Cold, Cold”, “Gold” and “Arlene” but expecting only my favourites felt greedy, and frankly the songs they selected instead were also great.

There isn’t a lot of stage antics (if any) with the band staying glued to their spots throughout. The most physical they got was a bit of aggressive strumming on the heavier tunes. You are instead held by the magic of Brett’s vocals and the apocalyptic poetry of Rennie’s lyrics pouring out of him.

The sound was excellent, even along the side of the venue in the banquette, which was just as well because as you can see from the photo above, we could see very little. Mostly the front half of Brett’s head and most of his guitar (the rest being obscured by a large, suspended block speaker). This did not bother me in the slightest. I’ve been reading a lot of Seneca and Epictetus of late and all that stoicism had me well-prepared to accept and enjoy the circumstance.

There was briefly a very tall dude in front of us, but the ladies at our table brooked no detractions from their concert going experience. One remarked, “I’m going to move that man six inches to the right” and following a polite but firm exchange of words managed to move him a full foot and a half.

After the show, I met Brett hanging around talking to fans in front of the merch table. He looked like he could be anyone’s unassuming but cool uncle, sipping on a tall can of Budweiser and we briefly shot the shit about life, music and stuff. I disengaged before too long though, as my Canadian politeness kicked in.

Overall, it was a fine show, well performed and memorable and ere we left, Sheila exhorted them to come and play in our hometown one day. I hope they do.