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Megan Nash plays super show for regular Lethbridge visit

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Lethbridge should adopt Moose Jaw based singer songwriter Megan Nash, she plays here often enough,  observing on stage  at the Owl Acoustic Lounge, Feb. 21, that she’s played Lethbridge least 10 or 12 times.

Megan Nash played an emotional performance in Lethbridge, Feb. 21. Photo by Richard Amery
She observed on stage “ she likes bonding with people through sadness,” and played an assortment of her own sad, melodic songs to emphasize the point.


She started off strong with “Matchbox,” her “attempt to make a fun flirty song.” It was an  excellent, upbeat, perky and catchy way to start the show, which was opened by local musician Eric West.


She followed it up bey talking about an old diary and dedicating the next song to“Bad Poetry” to any 23-year-olds in the audience, and noted she has been playing with Bears of Hazenmore, observing, “ I finally found someone to play my sad songs with me” and joked the Owl was the only  venue she’s played to meet her rider— having lamps on stage.


 In between amusing stream of consciousness rants, she played some new material, featuring heartfelt lyrics, mournful melodies and multi-note vocal runs.


 A new one called “Spinning, Swirling and Stumbling in Your Streets,” which she wrote in a repurposed church was a highlight of her set.


 A older song “Deer Head” about wishing she was a taxidermied deer‘s head,” was another highlight.
 She played solo, accompanying herself on electric guitar, playing  alternative pop, rock and a touch of folk. the audience sat listening intently to her throughout.

— By Richard Amery, L.a. Beat Editor
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Last Updated ( Wednesday, 01 March 2017 08:45 )
 

Burn Ins bring catchy new bluesy music

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It has been a couple of years since Elkford B.C. based band the Burn Ins played Lethbridge, so it was great to see them  return to play the Owl Acoustic Lounge, Monday, Feb. 20 and host their open mic.Thw Burn Ins returned to Lethbridge, Feb. 20. Photo by Richard Amery
 They had a good sized, enthusiastic audience there to listen to a n Alabama Shakes cover, several brand new originals and much more.
 The trio, bassist/ vocalist Kristine Lyall, drummer Aaron Lyall and lead guitarist Aaron Lokry.

A touching number about the Highway of Tears and missing indigenous numbers was a more serious, and immediate hit with the audience.
They got the audience to sing along with a couple of the songs. And Mokry played a pretty cool  talk box solo with his guitar.


There was a lot of blues in the music with plenty of crunchy riffs and tasteful solos. Kristine Lyall had a distinctive, high pitched, nasally, twangy voice and held down a solid groove.
They had a lot of catchy numbers including a highlight “Dance Like Nobody’s Watching You.”
Another highlight was “Losing It.”
They ended their set by turning Dolly Parton’s country classic “Jolene” into a spooky alternative rock tune, with Lyall sounding like Lethbridge musician Jolene Draper.

—by Richard Amery, L.a. Beat Editor
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Last Updated ( Monday, 27 February 2017 14:58 )
 

Honeymoon Suite play sweet set of ’80s hits

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There’s a reason Canadian classic rockers Honeymoon Suite can pack a room, even on a Sunday night.
 Average Joes was standing room only, Sunday, Feb. 19 for an array of the Ontario band’s many ’80s hits.

Honeymoon Suite’s Derry Grehan and Johnnie Dee playing the hits. Photo by Richard Amery
Honeymoon suite, including all of their original members ( Johnnie Dee, Derry Grehan, Gary Lalonde, Dave Betts, Peter Nunn) rocked the joint with the sounds of the ’80s.
 They started on a heavier note with “Wounded” which immediately got the enthusiastic crowd singing along. They have aged really well, looking young and fit and sounding as tight as a band who has been together for over 30 years, should sound.


Lead guitarist Derry Grehan was a highlight, playing catchy riffs and well crafted solos featuring vintage ’70s/ ’80s two handed fretboard tapping which fit perfectly in the song.
 Frontman Johny Dee still showed a powerful, melodic voice with some impressive high notes as well as handling rhythm guitar. Guitar malfunctions and broken strings were handled with aplomb as Dee‘d trade guitars mid song to one of the guitar techs.

 “Stay In the Light,” was an immediate singalong highlight.
 They whole show was full of sing along choruses,  and catchy riffs and some intricate  yet subtle fretboard tapping from Derry Grehan.
 “Lethal Weapon” was a slower moment and a highlight. One of my absolute favourites “ Wave Babies,” was one of several songs where they just stepped back and let the crowd sing.


Everybody got to solo, showing their own individual musical prowess. Grehan added a few bars of Van Halen’s “Eruption” to his solo set. After that, they moved smoothly into “Bad Attitude.”
 They wound things down with  a sizzling version of “ New Girl Now.”


 As expected Honeymoon Suite hit all of the band’s big ’80s hits I missed a surprise opening set from local ’90s rock band Uncovered.
 but I was just in time for a Suzie and the Homewreckers, a local band I haven’t seen play in a while.

Suzie and the Homewreckers opening for Honeymoon Suite, Feb. 19. Photo by Richard Amery
 They included new drummer Tony Arsenault , backstopping an array of hits from Blondie to the Misfits and everything in between.
Some of those included “One Way or Another,”“99 Red Balloons” and the Misfits’ “Mother.


 They also included a few originals which had  a ’90s alternative rock feel including bands like No Doubt and Garbage.
 They counterbalanced pop music with heavier songs like Motorhead’s “Ace of Spades.”

— By Richard Amery, L.A. Beat Editor
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Last Updated ( Monday, 27 February 2017 14:51 )
 

Black Thunder and The Jump Off shake up the Slice

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Lethbridge got a slice of Saskatchewan punk and metal as  Black Thunder and the Jump Off stopped by the Slice to shake the walls.

Black Thunder’s Tony Frank playing the Slice, Feb. 18. Photo by Richard Amery
I barely caught the end of the Supervoid’s set, though was just in time for The Jump Off.

The Jump Off payed high energy alternative rock with the bassist / vocalist also adding a few extra keyboards for a touch of ’80s new wave/ synth pop balanced with full throttle angst.


 There was a massive bass growl throughout and a little bit of hooky guitar.


 As always Black Thunder were all about big, beefy, loud, guitar riffs reminiscent of the best of the ’70s hard rock and metal music.


 In addition to big sludgy riffs, they also had elements of Detroit ’70s pre punk along the line of Iggy and the Stooges and MC5.The Jump Off making their Lethbridge debut. Photo by Richard Amery
They were done by 12:30 a.m.

— by Richard Amery, L.A. Beat Editor
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Last Updated ( Wednesday, 01 March 2017 08:52 )
 

Tom Green entertains with jokes, stories, rap and prank calls

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Funnyman Tom Green stopped by Studio to entertain a small, but enthusiastic audience at Studio 54, Feb. 18. The Snow Jam tour was being filmed as a part of a CBC  special, so Green pulled out all of the stops, performing, stand up comedy, rap, improvised bits and anything he could Tom Green performing at Studio, Feb. 18. Photo by Richard Amerythink of.


 He performed a little bit of stand up comedy, talking about strange animals in Australia.


He noted someone filming the show in the front row, and asked them if they were going to film the whole show, then “drunk dialled” one of the women on the filmer’s contact list, which was a funny improvised bit.


 For the movie portion of the show, he asked audience members to shout out lines from one of his movies “Freddie Got Fingered” and completed the scene on stage.


 He also did quite a bit of rapping, backed by DJ Vinyl Richie. He performed a few of his older songs and some brand new songs.
For something really special, the affable Green pulled a local rapper “MC Sideshow Bob” on stage to do some freestyle rapping,” which was pretty special.

 —by Richard Amery, L.A. Beat Editor
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Last Updated ( Monday, 27 February 2017 14:20 )
 
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