Events in Toronto
Here’s our little page of concert and art show listings for the Toronto area. If you want only show music or art related events, filter using the categories at the top of the calendar. Dark grey is music and green is art.
If you want your live show, DJ, art show, book release, or film launch listed on Gig It, send us an email. Reminder: We only list Toronto based shows.
More tickets at the door
Digging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures, haunting melodies, and mining the grandeur embedded within ugliness and pain. With her sixth official album Hiss Spun, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body, and getting free,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or for no reason at all, and it seems like the world has been in tears for months, and then you remember it’s been fucked for a long time, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.”
Hiss Spun was recorded by Kurt Ballou in Salem, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life, and coming to terms with years of vulnerability, anger, self-destruction, and dark family history.
Aside from adding low-end heft with gratuitous slabs of fuzz bass, longtime collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague, the howl of a coyote outside Wolfe’s rural house in California, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay, the shriek of primates, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun.
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Hyperkinetic Footwork / Experimental Grime / Avant-Club Sounds
@ 961 College St (Lower Level)
Art Toronto is Canada’s only international fair for modern and contemporary art | October 27-30, 2017 | Metro Toronto Convention Centre. The Opening Night Party, a benefit for the Art Gallery of Ontario, takes place on Thursday, October 26, 2017.
They were formed in Toronto, Ontario, Canada in 1985, led by singer – songwriter Moe Berg. They have released five albums and have gone through several line-up changes. Their biggest hit is the re-release of their debut single “I’m Adult Now” in 1989, produced by Todd Rundgren No.6 in U.S. Modern rock Tracks chart and No.22 in Rock Tracks Chart. After their first two albums, bassist Johnny Sinclair and vocalist Leslie Stanwyck left the band to form Universal Honey and they were replaced by bassist Brad Baker and vocalist Rachel Oldfield (the latter after a brief stint of Susan Murumets.
Advance tickets also available at Rotate This & Soundscapes
Collective Concerts presents – SAT.OCT.28 @ Smiling Buddha
🎉 Yumi Zouma (New Zealand/Cascine) launch their new album ‘Willowbank’ with a special show at Smiling Buddha with She-Devils (Montreal/Secretly Canadian)
Saturday October 28
9PM / 19+
🎫 Tickets 👉 http://ticketf.ly/2u509pQ
🎧 Listen to the new single ‘Persephone’ on Spotify 👉
💽 Pre-order ‘Willowbank’ 👉🏻 www.YumiZouma.com
Opening act TBA
Get ready to live forever at boombox, a building-wide, multi-sensory, Fame-inspired adventure at TIFF Bell Lightbox.
Tickets available at Ticketfly.com, Rotate This & Soundscapes
Advance tickets also available at Rotate This & Soundscapes
The Blow – (Set time: 11:00 PM)
The Blow is an electronic pop duo comprised of Khaela Maricich and Melissa Dyne. The Blow has taken various incarnations over the years: initially begun as a solo project by Maricich, the band was joined for a couple of albums by Jona Bechtolt of YACHT, after which it morphed into its current shape as the collaborative power convergence of Maricich and Dyne. In live performances, Maricich and Dyne work from opposite ends of the room, hugging the audience in between them, with Khaela on the main stage and Melissa on a separate stage at the back of the room. Onlookers stand in the direct path between the performers, encircled and perforated by the call and response of soundwaves, lightbeams and invisible communications between Maricich and Dyne. The shows on the upcoming tour are an open laboratory for experimentation using the elements that each artist has been honing over the years. The artistic styles and strengths of each member of The Blow reflects the different ways in which each one dreams at night. Dyne works with the physics of sound and light: in sleep she dreams of being a beam of light bouncing off of a ferrari. She has worked predominantly as an installation and sound artist, and from her post in the back she manipulates electronic instruments, shooting waves of frequency and light like a wizard hidden by the fireworks. Maricich dreams are filled with imaginary words and odd scenarios: during performances she plays with melody and narrative and gesture, bouncing herself off of whatever materials are thrown in her direction by Melissa, by an audience, from the ether. Together they produced a new album, titled The Blow, released on October 1, 2013. The album exists as a physical manifestation of the odyssey of experimentation on which The Blow has embarked, a mass of cells ready to divide and explode into new forms, to mutate with the local populations, to see what else could happen.
EMA – (Set time: 9:45 PM)
EMA began with the urge to self-exile. After the success of Past Life Martyred Saints and 2014’s prophetic The Future’s Void, EMA retreated to a basement in Portland, Oregon – a generic apartment complex in a non-trendy neighborhood, with beige carpeting and cheap slat blinds.She returns with a portrait of a world both familiar and alien: The Outer Ring, a pitch-black world of half-empty subdivisions, American flags hung over basement windows, big-box stores and strip malls and rage. In a year dominated by working-class alienation, EMA — a Midwesterner who has never lost her thousand-yard stare — has delivered an album that renders American poverty and resentment with frightening realism and deep empathy.
The Outer Ring is the suburban world of people who’ve been pushed out of city centers by stagnating wages and rising expense, forced up against rural communities swallowed by sprawl. It’s far more diverse than traditional images of “the suburbs” – vape shops and living-room hair salons exist next to Mexican grocery stores and Dollar General. But it’s also more deeply marked by poverty and tension, and by the anger that comes from having your story and your struggles erased from the narrative.
Songs like “I Wanna Destroy” (which shares a title with her 2015 MoMA PS1 exhibition) and “Down & Out” flicker between self-loathing and nihilism — an anger born of pain from being neglected by those in power, but no less alarming when we realize that “the kids from the void” might burn the world down.
The voices we hear in these songs — druggy, surly societal outcasts; Byronic blue-collar nihilists bringing down fire — speak to a rebellion that’s typically reserved for men. Think Bruce Springsteen’s similarly bleak outlaw portraits in Nebraska, or the quintessentially American (and quintessentially dudely) voices of Jack Kerouac or Charles Bukowski.
“During the process of this record I realized that I was ‘socialized male’ in my teen years,” says EMA. “I hung out with groups of dirtbag boys, listened to their music. I understand them, even though I was never fully a part of them. ‘Rebellious teenage dirtbag boy’ is such an outsized force in America especially… his insecurities have hijacked the nation, and his penchant for ‘joke racism’ has turned really fucking ugly. Yet I also have empathy for this person.”
Exile in the Outer Ring claims that same dirtbag alienation for women — “a woman who swallowed a scumbag teen boy whole,” as EMA puts it. “He’s still inside her but in the end she’s the actual spine of steel, nihilist with the gaze, wiser survivor.”
Navigating the rough terrain of femininity is not new for EMA. The Future’s Void read as a prescient statement on surveillance, but it also detailed EMA’s fears about being publicly female — a potential subject for online abuse and media trivialization, all too easily reduced to just another girl with a past and proclivities. She toured less, turned down interviews, and hid her face on the album cover, taking control by refusing to play into the trope of the blonde trainwreck.
For Exile, EMA returns to the question of how to be female without being devoured (“between a babe, and a crone, there is a queen, but I refuse to perform that,” we’re told on “Fire Water Air LSD”) while casting an eye on how male violence shapes the world. In these songs, the abuser who tells his victim she “made him crazy” in “7 Years” is not all that different from the famous white supremacist standing outside his casino in “Aryan Nation,” and both have more power than they deserve.
The album’s sound defies traditional “Americana.” An auteur in her own right, EMA has tapped Jacob Portrait of Unknown Mortal Orchestra to co-produce an album that reflects her full range, while also returning, in many respects, to her roots – namely, noise-folk outfit Gowns, and their 2007 album Red State.
The album veers from spoken word (“Where the Darkness Began”) to straight-ahead thrash (“33 Nihilistic and Female”), with detours through everything from psychedelia to raw acoustic balladry along the way. Static becomes percussion on “7 Years;” “Down and Out” soundtracks economic despair with oddly poppy synth strings. The seven-minute track “Breathalyzer” (a seven-minute noise epic in the Gowns tradition) extends modular synth solos over a simple, almost chant-like melody, until the tale of one woman’s heroic dose in the backseat of a Camry turns into an exercise in suspense.
All of these threads come together in the anthemic “Aryan Nation.” Feminist alienation becomes working-class alienation, just as one person’s abuser becomes the systemic abuse of a nation. It’s an expansive vision that brings together concerns from every corner of our present moment — and themes that have recurred throughout EMA’s career, from the brutality of late capitalism to the collapsing boundaries between private and public — into one dark portrait of what it means to be American in 2017.
“I’m actually pro-Outer Ring,” says EMA. “It feels more vibrant to me right now than most city centers. It’s got more diversity and lower overhead. It’s where the freaks and the artists and the culture are going to end up, and it could be beautiful if it doesn’t destroy itself first.”
EMA never loses sight of the possibility of healing. If Exile spends a lot of time addressing rage, it also asks what growing up submerged in all this violence does to one’s ability to connect with others (“Receive Love”) or whether it’s even possible to run away from pain (“Always Bleeds,” a song originally written with Gowns). The result is a deeply personal, confrontational, but ultimately redemptive album from a quintessentially American artist at the peak of her form.