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  • This TIFF, Get ready to ROCK STEADY. We’re turning the music up and inviting you to get down for a solid night of fun. Historically epic, our TIFF launch party is a massive building-wide experience with just one rule: good vibes only. Meet us at the Drake Hotel on Sept 4th for our launch party with performances by X Ambassadors, Brendan Philip, TOPS, Prince Innocence + more.

    While you're dancing the night away, don't forget to get your mini-manicure from Pinky's Nails or be one of the lucky few to get permanently inked by Speakeasy Tattoos. Don't forget to sign up for our huge Top Shop giveaway, for a chance to arrive to the closing night screening at Elgin Theater in style along with a night's stay a our Hotel!

    Click here for full details:

    • Venue: The Drake Hotel
    • Type: Live
    • Cover: $10.00
    • Time: Sept. 4, 2014, 9 p.m.
  • For every song Joseph Arthur has released in a critically acclaimed, Grammy-nominated career that has spanned nine full-length albums and 11 EPs, he's probably kept three others in the vault for safekeeping. Indeed, Arthur has been known to start working on a new album -- or two -- while simultaneously trying to finish another.

    It was amid this abundance of riches that the Brooklyn-by way of Ohio-native began molding a collection of music under a single narrative thread: The Ballad of Boogie Christ, described by Arthur as "a fictionalized character loosely based on my own journey."

    At first, it was a song here or there, or a set of lyrics with no accompanying music. Then, those songs would get recorded and set aside. They'd get re-recorded and revised. They'd start to make sense in relation to their brothers and sisters, and then they wouldn't. And pretty soon, more than half-a-decade had flown by and Boogie Christ was no closer to coherency.

    "For some reason, I've been avoiding finishing this record for a long time," Arthur says with a laugh. "It's been an albatross around my neck. I don't know why, but it has."

    Yet despite its labored birth, The Ballad of Boogie Christ -- Act 1 has defied the odds to become another essential cornerstone of Arthur's robust discography. Encompassing sessions put to tape in upstate New York, Los Angeles, Minneapolis and Arthur's own Brooklyn studio, the 11-song album showcases the artist's signature rich storytelling set to a diverse range of rock'n'roll.

    "I don't know that there's a beginning, middle and end to the story, but there are definitely experiences, situations and perspectives that point in those directions," says Arthur. "I wanted to let the listener fill in some of the blanks without telling the whole story in a straight-ahead way."

    The album begins with the surprising orchestral pop of "Currency of Love," on which Arthur unveils a passionate croon unlike any vocal performance he's ever given. From there, Boogie Christ offers epic affirmations on overcoming addiction (the seven-minute closer "All the Old Heroes"), anthems of open-hearted solidarity ("Wait for Your Lights," "It's OK To Be Young/Gone") and the kinds of slow-burning narratives ("Famous Friends Along the Coast," "I Used To Know How to Walk on Water") that have won Arthur a legion of fans around the globe.

    Songs like "Black Flowers," "I Used To Know How to Walk on Water" and the title cut were recorded several years ago with help from the Band's legendary keyboardist Garth Hudson and bassist Catherine Popper (Ryan Adams, Jack White), while newer additions to the track list such as "Currency of Love" and "Saint of Impossible Causes" were crafted in Los Angeles with assistance from Chris Seefried (Fitz & the Tantrums, Lana Del Rey). Among the other guests on Boogie Christ are Ben Harper (Arthur's bandmate in Fistful of Mercy), session drummer extraordinaire Jim Keltner, Joan As Policewoman leader Joan Wasser and composer Paul Cantelon (Oliver Stone's W., Julian Schnabel's The Diving Bell & the Butterfly).

    "There are certain moments on the album that are just pop music and sugary," Arthur says. "I didn't want it to be this diatribe of heaviness, and it had been like that sometimes. I definitely wanted moments of relief within it, where you just get a good jam."

    At the center of the project is the autobiographical "King of Cleveland," a classic story song that connects Boogie Christ the character with Arthur the flesh-and-blood artist. On it, the narrator apprentices alongside a big fish in a small pond, "playing blues in the back seats, from biker bars to limousines" -- much like Arthur did in his early professional career in Northeast Ohio. Says Arthur, "He's just starting to live the life he's imagined, playing roots boogie in the real America -- Ohio." With plans still taking shape for future installments of Boogie Christ material, perhaps as earlier as the fall, Arthur is hoping the project will eventually take on a life of its own outside of the album context.

    "I've heard David Bowie talk about how Ziggy Stardust and some other records were the beginnings of screenplays that he just never finished," he says. "I could really see this becoming something deeper and bigger than just an album.

    "Chuck Prophet reminded me that there's always the Great American Novel," he continues. "And that really stuck in my head about Boogie Christ. That's what I've been wanting to achieve with this album. He encouraged me that it was okay to dream big."

    • Venue: Underground
    • Type: Live
    • Cover: $23.50
    • Time: Sept. 6, 2014, 8 p.m.
  • Part indie-rock preacher, part wonder-kind, Aucoin's We’re All Dying To Live is a musical scrapbook compiling over 500 musicians, friends and fans from across Canada. We’re All Dying To Live is a testament to the metamorphic magic of music. “The record is really about making big life decisions or at least about thinking about those decisions and how to live one's life,” says Aucoin Much like the makings of We’re All Dying To Live, Aucoin wants to be surrounded by everyone he knows and loves and everyone he has yet to know and love every night forevermore. Cash in your golden ticket to an all inclusive electro-pop dance explosion.

    • Venue: Underground
    • Type: Live
    • Cover: $15
    • Time: Sept. 9, 2014, 8 p.m.
  • Robyn Hitchcock is an English singer-songwriter and guitarist. While primarily a vocalist and guitarist, he also plays harmonica, piano and bass guitar. Hitchcock's musical and lyrical styles have been influenced by his appreciation of Bob Dylan, John Lennon and Syd Barrett. Hitchcock's lyrics are an essential component of his work and tend to include surrealism, comedic songs, characterisations of English eccentrics and melancholy depictions of everyday life. His themes include the eternal contingencies of existence — namely, death, sex and eating. Recognizing this theme, he released an EP in 2007 called Sex, Food, Death and Tarantulas.

    • Venue: Underground
    • Type: Live
    • Cover: $22.50
    • Time: Sept. 11, 2014, 8 p.m.
  • Robyn Hitchcock is an English singer-songwriter and guitarist. While primarily a vocalist and guitarist, he also plays harmonica, piano and bass guitar. Hitchcock's musical and lyrical styles have been influenced by his appreciation of Bob Dylan, John Lennon and Syd Barrett. Hitchcock's lyrics are an essential component of his work and tend to include surrealism, comedic songs, characterisations of English eccentrics and melancholy depictions of everyday life. His themes include the eternal contingencies of existence — namely, death, sex and eating. Recognizing this theme, he released an EP in 2007 called Sex, Food, Death and Tarantulas.

    • Venue: Underground
    • Type: Live
    • Cover: $22.50
    • Time: Sept. 12, 2014, 8 p.m.
  • Robyn Hitchcock is an English singer-songwriter and guitarist. While primarily a vocalist and guitarist, he also plays harmonica, piano and bass guitar. Hitchcock's musical and lyrical styles have been influenced by his appreciation of Bob Dylan, John Lennon and Syd Barrett. Hitchcock's lyrics are an essential component of his work and tend to include surrealism, comedic songs, characterisations of English eccentrics and melancholy depictions of everyday life. His themes include the eternal contingencies of existence — namely, death, sex and eating. Recognizing this theme, he released an EP in 2007 called Sex, Food, Death and Tarantulas.

    • Venue: Underground
    • Type: Live
    • Cover: $22.50
    • Time: Sept. 13, 2014, 8 p.m.
  • By now, Black Prairie has clearly outgrown its roots as a casual side project, solidifying into a primary, creative focus for its members—a band with its own internal momentum, genuine character and style. Still, it's only become harder to describe what that style is. "I gave up a long time ago," guitarist Jon Neufeld says. When asked what kind of music Black Prairie plays, Neufeld usually just says "soft rock," and walks away.

    • Venue: Underground
    • Type: Live
    • Cover: $13.50
    • Time: Sept. 14, 2014, 8 p.m.
  • As impressive as her list of recent collaborators, Shara Worden's voice and arresting live performances have left audiences thunderstruck from the Sydney Opera House to Lincoln Center to the House of Blues. She's performed under the experimental-pop moniker My Brightest Diamond for the last seven years, and counts Bryce Dessner (The National), Justin Vernon (Bon Iver), David Byrne, Laurie Anderson and each of The Decemberists among friends and fans. They are just a few of the many who've fallen in love with Worden's mystical voice and mythic storytelling.

    Growing up outside of Detroit in a family of musical evangelists, Worden studied multiple instruments (her father is an acclaimed accordionist and mother an organist). She became equally passionate about classical and Motown, later pursuing a degree in Opera at the University of North Texas where she wrote and recorded original material for the first time. After moving to New York by way of Moscow, Worden recorded three albums before joining the ranks of Sufjan Stevens' Illinoisemakers. She then expanded her musical education further by studying composition under Padma Newsome (Clogs, The National), and turned out several scores for off-Broadway productions.

    Worden's artistry seems to transcend music itself. On stage she evokes as much Martha Graham as Edith Piaf, and can be found collaborating with visual artists (Matthew Ritchie) and filmmakers (Matthew Barney, Murat Eyuboglu) alike. Where worlds are colliding, there is a Shara; a zeitgeist for a growing movement of experimental musicians eager to bend the borders of artistry and genre.

    Having recently returned to Detroit, planted a garden and given birth to a son, Worden's latest offering, All Things Will Unwind, draws inspiration from the motor city itself. More folk inspired than much of her recent work the new album addresses the juxtaposition of life and death, class and race, pantries and politics—as heard through the mesmerizing lullaby of a new mother.

    • Venue: Underground
    • Type: Live
    • Cover: $15.50
    • Time: Sept. 20, 2014, 8 p.m.
  • EMA continues to evoke a unique and ambitious sound that saw her rightfully recognised as one of the most singular artists to emerge in 2011, and is likely to send her back into the public consciousness once again in 2014.

    • Venue: Underground
    • Type: Live
    • Cover: $15.00
    • Time: Sept. 30, 2014, 8 p.m.