Simple Plan Nov. 26, 27 - Edmonton & Calgary

Admittedly, a lot has happened since the Montreal, Canada band-vocalist Pierre Bouvier, drummer Chuck Comeau, bassist David Desrosiers and guitarists Sebastien Lefebvre and Jeff Stinco-released No Pads, No Helmets, Just Balls... in the spring of 2002. Aside from selling a couple of million albums, the group have shared the stage with everyone from Rancid to Aerosmith; made appearances on the Vans Warped Tour for three years running (two as Headliners), and been nominated for four MTV Video Music Awards - not bad for five kids who used to tour in their parents' station wagon.

"Songs about cars and partying do nothing for me," explains Comeau. "I like songs where I listen and it makes me shiver." That said, you may want to don a parka while listening to Still Not Getting Any..., because it's packed with shiver - worthy moments: "Crazy," chronicles the insecurities each of us go through on a daily basis (yes, even if you're a rock star), while "Perfect World," struggles to make sense out of loss. However, for a while, it looked like these songs would never come together.

"For us songwriting is a craft we really have to work hard at," admits Comeau. After the band wrapped their first U.S. headlining tour with MxPx last February, Comeau and Bouvier spent three months in Vancouver writing every single day for the new album, throwing away more ideas than they came away with. "At first we had trouble coming up with stuff we loved, so we just kept writing and writing… never giving up. After months of doing this and pushing each other, it just came together,"Bouvier explains. 'Perfect World' was one of the first good songs that we got, and from there the songs just started coming out of us like a waterfall."

When it came time to record, the band enlisted famed producer Bob Rock (the man behind some of Metallica’s, Mötley Crüe’s and Bon Jovi’s biggest records). The vision behind Still Not Getting Any… was simple… the band would not restrict themselves to the punk genre, which ironically seems to have more rules than one can keep track of these days.

"I think on the first record we just wanted to write a pure pop-punk record, and on this one we didn't care - we just wanted to write good songs," explains Comeau. Bouvier has a fitting analogy for the band’s approach: "As an artist, why limit yourself to just doing certain things?" he asks aloud. "It's like being a painter; do you decide to only use seven or eight colors, or blend the colors together and make the most beautiful painting possible. From the deeply personal story behind the album’s lead single "Welcome To My Life" to the insanely exhilarating guitar solo on "Promise", this illustrates the band’s approach to songwriting.

Granted, Still Not Getting Any… isn’t going to be in the trip-hop section of any record store, but there are some surprises, be it the subtle but powerful interludes in "Shut Up", the cool and yet intricate drum loop on ''Perfect World", the beautiful string section and touching lyrics you can hear on "Untitled", or the epic string arrangement on "One." "Thank You" recalls the early 90’s melodic punk bands who influenced Comeau and Bouvier’s old hardcore band, Reset.

The record is a bit different from the first one, but it’s still us," Lefebvre is quick to point out. However, although Simple Plan are open to experimenting with the formula that made them famous, their biggest concern is not letting down their fans, because, that’s who this album is for. “The connection between us and our fans is the most important thing we have," explains Desrosiers. “They’ll ultimately be the ones who make or break our album, not some music critic who’s already made his or her mind up about us," Stinco adds. "Without them, I would probably be working a nine-to-five job that I hate."

In the end, the band speak best though their lyrics, and during "Shut Up" when Bouvier sings, "Nothing you say today will ever bring me down," it's not calculated rebellion - it's the truth. So, whose side are you on?

"Movin' Out" comes to Toronto!

nytheatre.com review
Julie Congress · May 25, 2005

Movin' Out is a new musical conceived, choreographed, and directed by Twyla Tharp based on 24 classic Billy Joel songs. It tells the story of six lifelong friends, told over two turbulent decades (from the '60s to the '80s). The review below is brand new, based on a recent visit to the show.

This is what theatre is supposed to be. The music of Billy Joel, the choreography of Twyla Tharp, and the skillful ensemble of dancers make Movin’ Out a thrilling theatrical experience. It’s energetic, exuberant, and utterly invigorating.

Movin’ Out tells the story of five friends in 1960s suburbia. Eddie, Tony, and James are three good-natured high school guys looking to make their mark on the world. James is going steady with Judy, and they decide to get engaged. Eddie’s going out with Brenda, but she soon ends their volatile relationship, and she and Tony fall in love. Then the guys head off to Vietnam and James is killed in action. Eddie and Tony come home, but their lives—along with Brenda and Judy’s—are totally changed. The remaining four try to put their lives back together, but they are lost and damaged, particularly the self-destructive Eddie. However, after this rocky period, they are all able to turn their lives around and begin the next chapters in their stories.

All of this is expertly told without any dialogue. Twyla Tharp’s rich, inventive choreography and direction, coupled with the catchy, powerful songs of Billy Joel, clearly articulate everything that’s going on—not just in terms of plot, but emotions and characterization as well. The show begins with “Scenes from an Italian Restaurant” which sets the scene for what’s to come. Dozens of classic Billy Joel songs follow, and they are ordered so as to progress the story. Some of the most memorable numbers are “Captain Jack” in which the drug-addicted Eddie has pretty much hit rock bottom; the evocative, haunting flashback to Vietnam, “Goodnight Saigon”; and a sequence of “River of Dreams,” “Keeping the Faith,” and “Only the Good Die Young” in which Eddie finally learns to live again after his Vietnam experience.

Movin’ Out is about starting a new part of your life, about moving on. This doesn’t mean you have to forget your past, just that you need to live in the present. The theme is expressed most clearly in the final song, “I’ve Loved These Days”: “So before we end (and then begin) / We’ll drink a toast to how it’s been.” But the message is clear throughout, and the universality and importance of this idea makes Movin’ Out more than just a good time, but a thought-provoking piece of theatre as well.

The set, designed by Santo Loquasto, and the lighting, designed by Donald Holder, are creative and powerful and fully utilized in the production. Costumes, designed by Suzy Benzinger, expertly show the progression of each of the characters (as well as, quite helpfully, allowing us to instantly recognize each of the friends).

Nearly three years into the show’s run, every member of the ensemble is still extremely talented and enthusiastic. All five leads at the performance attended were played by understudies (Marty Lawson as Eddie, Melissa Downey as Judy, Meg Paul as Brenda, Chris Body as Tony, and Eric Otto as James) and I was utterly amazed by them. Body and Paul fully embody their conflicted characters, and the chemistry between the two was palpable. Among the ensemble members, Karine Plantadit-Bageot has phenomenal dancing ability and tremendous attitude and charisma, so that your eye is always drawn to her. The band, which perches on a moveable platform above the stage, also had an understudy pianist/lead vocalist—Henry Haid’s electric voice rang out passionately and impressively. This is my second time at Movin' Out: it seems like no matter who you see on stage in this company, you will be galvanized by their excellent work.

Indeed, the entire show is loaded with energy. Yet during “River of Dreams,” the entire company came to life as never before. Marty Lawson, dancing Eddie’s jubilant redemption, exploded into high gear, and the excitement—on stage and throughout the audience—was spectacular. What's astonishing is, the same kind of thing happened the first time I saw Movin' Out, during "Captain Jack."

So, if you haven’t seen Movin' Out—go see it! And if you have, go see it again—it’ll be just as vibrant and engaging as before, but in a new, surprising way.

U2 in Montreal & Ottawa Nov. 25, 26 & 28

Angela Pacienza -- Canadian Press

TORONTO (CP) - Calling Prime Minister Paul Martin "a friend" who has improved his record on global aid, Bono continued his fight to end African poverty at a sold-out rock show Monday.
Before an adoring public, the U2 frontman challenged Martin to spend the audience's "money on the poorest of the poor."

"He's a good man and he's been improving. Every time you shout he hears you," said the iconic frontman, decked out in his usual black uniform and sunglasses.
"We look to Canada to lead, not to follow."

It was a softer message than the one Bono delivered in April at a concert in Vancouver. At that show, the Irish rock star chastised Martin for breaking a promise to raise Canada's spending on foreign aid.

Back on stage after a month off their world tour, the band, rounded out by The Edge, Adam Clayton and Larry Mullen, Jr., was in fine form Monday, the first of four sold-out shows in Toronto.

Eager to please the frenzied crowd, the band offered a steady flow of new and nostalgic rock anthems.

The approximately 18,000 faithful included musician Daniel Lanois, actor Cuba Gooding Jr., film director Atom Egoyan and singer Steven Page of the Barenaked Ladies.
By the concert's mid-point, the band had dipped into its artillery of politically charged songs crying out Love And Peace, Sunday Bloody Sunday and Bullet The Blue Sky.
"What a strange year," declared Bono. "These are strange times to live in London or New York or wherever."

He asked the audience to turn the next song, Miss Sarajevo, into a prayer.
"That we do not become a monster in order to defeat a monster," he said.
The audience obliged, waving their arms in the air in support of their hero's cause.
As the song came to an end, giant screens above the stage listed the Universal Declaration of Human Rights.

Bono hammered home his message by launching into Pride (In The Name Of Love).
"In the name of love! What more in the name of love?" the audience cried along.
At times the audience was singing so loudly even the band seemed impressed.
"Wow," said Bono repeatedly throughout the night.

He also joked about the growing ego of Canada's most populous city.
"Don't get too big for your boots with the film festival and all," he said referring to the Toronto International Film Festival running all week.

"Tonight it's a rock and roll festival."

Bono himself has been making the fest's rounds, hobnobbing at parties and screenings.
Monday's concert launched the third leg of the Vertigo tour. It boasts 50 arena shows in the United States and Canada, with stops in Ottawa on Nov. 25 and Montreal on Nov. 26 and 28.
The band seems to be enjoying the adulation, which seems to only get stronger as the band matures. Unlike some other aging rock bands whose fans show up to concerts only to hear songs of yesteryear, U2's current releases are as satisfying as the early hits.

"This whole band is just getting started," said Bono.

Vancouver Preps for Grey Cup 2005

The Province of British Columbia will welcome the 93rd Grey Cup, Canada's largest annual professional sporting event, on November 27, 2005. The Grey Cup Festival will celebrate the City of Vancouver and the spirit of Canadian football and will include numerous events for people of all ages. The Grey Cup game will kick-off at 3:00 PM on Sunday.

The 93rd Grey Cup will be the 14th time the championship game has been held in Vancouver and the sixth time at B.C. Place Stadium. Last time Vancouver was the host city, November 28th, 1999, former Lions quarterback Danny McManus led his Hamilton Tiger-Cats to a 32-21 victory over current Lions quarterback Dave Dickenson and his then Calgary Stampeders. Other memorable Vancouver Grey Cup's include 1955, the first time the Grey Cup came to Vancouver, 1983, the first time B.C. Place Stadium hosted the event, and 1994, the first and only time the Lions won the Grey Cup at home. In total the BC Lions have won the Grey Cup four times, in 1964, 1985, 1994 and 2000