Patrick Watson at the 2009 Polaris Prize
A change in venue; a change in result? Reasons remain untold as to why The 2009 Polaris Prize gala switched from The Phoenix Concert Theatre — where it has called home since its inception in 2006 — to The Concert Hall (“the MTV building”). What was obvious, however, was the impressive lineup of performances and nominees that would surely present all in attendance with a fantastic night of music.
The Polaris Prize “Short List” was announced on July 7th to a warm reception by many. This list truly had something for everyone: there was heavy; there was light; there was dark; there was bright. Favourites for winner of the prize were easily chosen, yet, no guarantees were given — the result of last year’s event was just too unpredictable (Winning Artist: Caribou). This year’s winner could have been anyone on the list and those that I spoke with were reluctant to declare a winner (only who they hoped would win).
Doors were at 8:00pm. The show began at 9:00pm. I arrived closer to 9 and quickly shuffled into the venue, shook some hands and then settled in my seat at my table. A quick scan of the table: vodka, RedBull, a bucket of beer, a token Polaris hard-cover program/souvenir and some metal cookie sheets along with wooden spoons. Huh!? More on that later.
After the obligatory preamble about cellphones, cameras and a test of the audience’s applause level (this show was being posted to the web) Steve Jordan — head of the Polaris Prize — addressed the crowd. After some sincere words and many thanks to the event’s numerous sponsors, the show was ready to begin. Flood lights in the venue’s balcony flicked on and two very nicely-dressed hosts were made the focus of the top of the show. Grant Lawrence of CBC Radio 3 and Sarah Taylor of MuchMusic set the night up while half of Metric quietly snuck on stage. Emily Haines and James Shaw took hold of an upright piano and an acoustic guitar, respectively. The hosts threw to them and the show was underway.
There were a total of 10 performers this year — all present (some were absent last year). With each Artist getting 2 songs worth of time, we all knew that this would be a long-yet-fulfilling night of music. As mentioned, Metric began the show, but overall the order of performance went as such:
Metric
Great Lake Swimmers
Patrick Watson
K’naan
Malajube
Joel Plaskett
Chad Van Gaalen
Elliott Brood
Hey Rosetta!
Fucked Up
The process went like this: the Artists got introduced by a voice-over, the hosts did an introduction, a special presenter for each Artist addressed the crowd, 2 songs (for most Artists) were performed and then the show was put on hold for the audience to schmooze or otherwise occupy themselves (read: a washroom break from the free booze).
Highlights from the show:
Emily Haines is equally impressive on stage during an acoustic set as she is in full force. I still think that ‘Fantasies’ is one of the best records of 2009 thus far.
This was my first exposure to Malajube. The french-rockers did exactly that: they rocked the audience. The language barrier was torn down momentarily by their pure musical ability. That same barrier was put back together afterwards, however, when it came time to address the crowd…but this is all beside the point.
Patrick Watson emerged, as a whole, with giant lighting rigs strapped to their backs. They proceeded to march through the tables and seated audience — instruments in tow — whilst performing a rustic, acoustic number. I quickly noticed one of the band members carrying a metal cookie sheet and wooden spoon. Audience participation time! I wasted no time dispensing the sheets to the rest of our table and others did the same with theirs. Before long, the room was bangin’ along. Unfortunately, the band only played one song.
K’naan performed with a stripped-down band (thus unfortunately requiring backing tracks) but this scenario was luckily augmented by a stellar show. His performance had the crowd hooting and hollering! The Somali-born musician’s speech afterwards was filled with kind words and praise for the musical climate that exists in Canada — one of musical diversity produced from our cultural diversity. Coming from a 1st-generation immigrant to this great country, his words were honest and heart-felt.
Joel Plaskett really surprised me. His first song — “Heartless, Heartless, Heartless” – was done with the help of his Father, Bill Plaskett, and it was riveting! The broken-down, double-acoustic tune contained so much emotion, despite the simplicity of it all. At one point Joel played a solo that spoke volumes with regards to his talent (it was extremely “off-the-cuff” and spontaneous, yet, right where it needed to be).
Elliott Brood *really* shook the crowd up — once again breaking out the cookie sheets and spoons. This time around, however, the crowd had had far too much beer and RedBull at this point. Those who didn’t have cookie sheets or spoons banged bottle openers against anything metal they could find. Those that didn’t have bottle openers, well, used bottles (denting the hell out of those cookie sheets!). The recurring “HEY HEY HEY” motif of “Write It All Down” had the crowd yelling and bashing. This was one of the most spontaneous, fun moments of the show (not quite as spontaneous as the good natured drink-throwing fight in the audience between Patrick Watson and Malajube afterwards, but, spontaneous nonetheless).
Hey Rosetta! invited a plethora of performers up on stage (over a dozen, including the band’s manager). Their songs were more toned-down, but just as powerful. A lot of people believe passionately in this band. Vocalist Tim Baker went a step further than most in his speech to the crowd, thanking those that have offered up their backs in carrying this band to the stage that night — most notable being the many levels of Government and the various funding bodies that exist in this country. Classy.
Fucked Up came last. How could they not!? One: their music and live performance is abrasive and shocking (Damian — the lead singer — tends to undress quite frequently). Two: the last time the band played MTV, they completely trashed their surroundings (which just so happened to be a bathroom). F’ed Up even alluded to the fact that they were repeatedly frisked before this event, and, even had to “sign a waiver.” Hey, this is punk rock and the band’s unabashed devotion to that ethic demands attention (if not appreciation).
One final break was taken before last year’s winner (Dan Snaith — aka Caribou) stepped up to the mic to announce this year’s winner. A moment of silence seemed like a lifetime before the perennial bomb was dropped: FUCKED UP. Some (including me) rose from their chairs in applause. Some didn’t rise, in disappointment; however, this is how this event seems to go every year. What is important here, to me, is that an Artist won by pushing boundaries. This band is not safe, but nor is ‘The Chemistry Of Common Life.’ This record has chugging riffs and bellowing, gnarly vocals yet it also features diverse instrumentation (read: flute). The track “Looking For God” completely lacks vocals and only features swelling guitars progressing in a building, linear fashion — a structure seemingly more fit for a Godspeed You Black Emperor! record. If this record is “hardcore” then this band is set to push this genre even further. I think this record is akin to how Refused or At The Drive In pushed the “punk” genre a step further. I also think that this band could very well be on the verge of putting out a truly ground-breaking record. Only time will tell what happens next; what is certain is that the $20000 Polaris Prize will set them on their way, either way.
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