Event Category: Event
Ticket On-Sale Fri. Feb. 22nd @ 10AM!
Sunday, June 2nd, 2019
$15 / ALL AGES / TAVERN
*Seated Show (Limited Quantity)
From the first notes of “Weightless” to the slow-dying roar of the crowd as the last licks of “Devil’s Bride” squeal out, Matt Andersen and the Mellotones Live at Olympic Hall is a rollicking, sizzling night of Andersen’s thunderous voice and hot guitar playing mashed up with the ten-piece force of nature that is the Mellotones, all captured at a historic dance hall in downtown Halifax.
Andersen calls it “the most drastic thing I could do,” a far cry from his usual one guy, one guitar context. “I make an impact when I’m solo with the quiet parts more than the loud parts. With a band it’s the opposite.” And if you’re going to have a band, it
should be the Mellotones. Long a staple of Halifax’s live music scene, the band features a smoking horn section along with keys, drums, and more. “I felt like a rock star,” Andersen says.
A stirringly soulful singer with powerful songs and a live band that cooks are two of the elements that go into making a live record a success. The third necessary element is, of course, a live audience. And Andersen had one that was hot to trot.
“They were a really great crowd,” Andersen says. “To look out into the audience was pretty special from that stage, they sold the balcony too, so there were two tiers of people.” Andersen was particularly pleased to play at Olympic Hall. He loved seeing
the old signs of its dance hall past—photos on the walls of audiences dressed to the nines, sitting at round tables, with space in the middle for dancing. Andersen’s show, though, was a less formal affair, with the sold-out audience on its feet from start to finish. “I don’t get to play shows with everyone standing up, I usually play softseater shows, so it was great to get on stage and have that kind of energy. People were excited, the band and the audience both.”
Andersen wanted to make a live record that would be something fans could come back to again and again, the way he did when he was a kid, with Eric Clapton Unplugged. “It’s a bit of a subconscious confirmation that it is real. You can’t really
fake it. A lot of people like to have that representation of what happened. Anytime I play a show, people ask, ‘which album is most like your live show?’ They want to take home their experience.”
Andersen notes that for artists who don’t get a lot of radio play, “live music is vital.” And more than that, he says, “I think it’s a basic connection, to be part of that energy going on. I just wish everyone could come to a live show. It’s the best way to hear
music for sure.”
And with Matt Andersen and the Mellotones Live at Olympic Hall, they can.
Erin Costelo is a throwback; a songwriter that brings to mind the ‘golden age’ of music. Her fifth full-length album, SWEET MARIE, out November 2, 2018 on Compass Records, is 10-song collection recorded in 10 days in a timber-frame home on the ocean in Little Harbour, Nova Scotia. The album was brought to life in January amidst Canadian winter storms and pounding surf of the east coast. Produced by Costelo herself, SWEET MARIE finds the native Nova Scotian looking at a world and an industry that pushed her to the edge of ending her musical career – and finds her pushing back. Pulsing with a confident and cathartic energy, her incredible voice, drawing comparisons to such icons as Nina Simone and Carole King, soars even as her songs dive deep. Although she wears many influences on her sleeve, Costelo is unquestionably herself, a singular artist of maturity and importance; a maverick, unfetterd by trend, fashion or industry ‘pathway.’
She demonstrates this in the new ‘SWEET MARIE’ documentary, directed by Juno-award winning songwriter-turned-filmmaker Amelia Curran. The studio documentary is a long-standing tradition. It allows the audience to study the engine of the music they love – pry open the casing, and view the bones. What is particularly enticing, and what makes Erin Costelo a great subject for the studio documentary, are her skills as a producer. This isn’t simply tapping a microphone and slogging through fifty takes; every note from under each performer is a considered move. How it floats through the studio environment and is engineered and conditioned out the other side to its audience is a rodeo of painstaking precision and delight.
Costelo has assembled an ace group of Canadian players for the album, including Glenn Milchem on drums (Blue Rodeo), Anna Ruddick on bass (Randy Bachman), Leith Fleming-Smith on organ (Matt Mays, Hawksley Workman) and her long-time partner, Clive MacNutt, on guitar. Taking inspiration from sources as varied as Ryan Adams and Randy Newman, Costelo delivers a genre-defying batch of songs that sound at once timeless, timely and completely fresh.
Her 2016 release, DOWN BELOW, THE STATUS QUO, was nominated for a total of 12 awards in her home on the East Coast of Canada including a
win for Solo Recording of the Year and Producer of the Year, making her the first woman to receive the prestigious award. Costelo has had the opportunity to open for acts such as Mavis Staples, Dr. John, Bettye Lavette and with Levon Helm’s Midnight Ramble Band and will be starting an extensive North American tour on October 19th in Toronto.