Latest news with #OntheBeach
Otago Daily Times
4 days ago
- Entertainment
- Otago Daily Times
Beached as, bro
REVIEWED BY BEN ALLAN Is Hideo Kojima the world's last rock-star game developer? It's difficult to think of anyone else these days who would have the clout - and get the funding - to make a triple-A game as extremely idiosyncratic as Kojima Production's Death Stranding 2: On The Beach . To be fair, maybe the funding part was easy. The first Death Stranding (2019) sold 19 million copies, so plenty of people were on board to steer The Walking Dead actor Norman Reedus (captured here again down to the minute details of the moles on his face) as he lugged packages across a post-apocalyptic United States. This reviewer missed out though, so coming into On the Beach , I had a bit to catch up on. Oh boy. So: the dead have returned to the world of the living as ghostly "BTs" (beached things); they brought with them a crystalline substance that has empowered new technologies but ruined others (like aeroplanes); you can see them with a bit of tech that requires you to carry around an unborn baby in a little pod; and if the BTs ever manage to consume a living being (which they seem keen to), something akin to a nuclear explosion goes off. As a result, there was a bit of an apocalypse, which ended up with the world's remaining population reduced to huddling in isolated bunkers and cities, cut off from one other and relying on porters, like Reedus' character Sam, to make lonely supply deliveries between them across a perilous landscape. In the first game Sam made his way one load at a time across the US, connecting these settlements to the "chiral network" (a sort of tech-magic internet) handily averting the extinction of humanity while he was at it. At the outset of the second, he's something of a fugitive (having run off to illegally raise his little pod-pal, Lou), but is soon brought back into the fold to continue the mission of spreading the chiral network, this time into Mexico - and then, thanks to some more Death Stranding -world magic - across the whole of Australia. So yes, in a way you could simulate the experience of playing this game by joining the exodus across The Ditch and getting a job with Australia Post - but you'd miss out on a lot. Much of the game is spent just navigating Sam by night and day across the graphically gorgeous wilderness of Australia (filled with what seem to be authentic Aussie voice actors, which is nice), which serves up hazards such as local earthquakes, storms, flash floods, bush fires, and just plain overbalancing on a scree slope due to your towering backpack, faceplanting, and sliding 30m downhill - likely one of the more wince-inducing experiences in gaming. (Oh, and there's the magic rain that rapidly ages things, too.) Sam has plenty of options to facilitate his journey, from ladders and climbing ropes up to more high-tech options like hovering cargo platforms and off-road vehicles, though everything he brings along with him must be managed as part of his overall load. It's gameplay of quiet satisfaction: planning your route, packing well, the often Zen-like quality of the journey itself, and the "job well done" of cargo delivered undamaged at the destination (uh, or maybe just a bit damaged - sorry, there were these ghosts). Your fellow porters are with you along the way, too. Though they never enter your game directly, you're able to share resources and supplies with other Beach players via the game's "Strand" system, which can include answering quests for aid, leaving signs or structures for others to find, completing your fellow players' deliveries, or collaborating on larger projects like road-building. There's a little buzz to the game letting you know that scores of people have used a bridge you built, but it's possibly even cooler to learn that a single player elsewhere in the world stumbled across and took shelter in the little hut you left halfway up a mountain in the middle of nowhere. Your travel vlogging, though, is interrupted by regular combat encounters out in the wilds, both with human banditry and the BTs. The former provide some fun, if standard, third-person melee / ranged / stealth encounters, with the wrinkle of occasionally finding yourself in a four-man brawl while wearing a backpack the size of a fridge. BTs though, while nicely terrifying, are a bit of a pain in the butt, employing a "tar" mechanic that often leaves Sam struggling to move, and are most heavily damaged by grenades that can be tricky to aim. They're also your opponents for most of the game's boss fights, which can be exercises in frustration until you adapt to the rhythm of managing your inventory on the go while fighting. Actual gameplay, though, is only so much of the On the Beach experience. If Kojima is a rock star, he's David Bowie - arty, outre and throwing everything at the wall to see what sticks, no matter how weird. Get ready for Hollywood directors galore, forensically motion captured, to drop in as actors, Lea Seydoux to keep crying a Single Tear of Emotion while wearing a scarf that's a spare pair of hands, and red-hooded cultists schlepping their evil leader around through phantom tar in a Gothic techno-sarcophagus. Careening from bizarre to moving and back, the story makes the most of the possibilities of a world in which the afterlife is real, technology is basically magic and people can come back from the dead, taking big swings at big themes of loss, the importance of human connection and the inevitability of our extinction - all while pulling moves like "so this character is called Dollman, he's a possessed ventriloquist's dummy. Just roll with it". While it is a lot (and you sometimes have cause to wonder if anyone ever tells Kojima he has had a bad idea), it just about all comes together as something that's often quite profound. Perhaps more striking than this though is that as a gaming experience, it's so very singular - the sort of different that's normally destined to be ironed out of games with giant budgets that need the broadest possible appeal. You're simply unlikely to play anything like Death Stranding 2 until, well, probably Death Stranding 3 . So hitch up your pack, head for the horizon and think heavy thoughts about how human connection is all we have as our species heads into terminal decline. Oh, and also, Norman Reedus' bladder meter is full; press circle to have him pee in a bush.
Otago Daily Times
4 days ago
- Entertainment
- Otago Daily Times
Review: Beached as, bro
Is Hideo Kojima the world's last rock-star game developer? It's difficult to think of anyone else these days who would have the clout — and get the funding — to make a triple-A game as extremely idiosyncratic as Kojima Production's Death Stranding 2: On The Beach. To be fair, maybe the funding part was easy. The first Death Stranding (2019) sold 19 million copies, so plenty of people were on board to steer The Walking Dead actor Norman Reedus (captured here again down to the minute details of the moles on his face) as he lugged packages across a post-apocalyptic United States. This reviewer missed out though, so coming into On the Beach, I had a bit to catch up on. Oh boy. So: the dead have returned to the world of the living as ghostly "BTs" (beached things); they brought with them a crystalline substance that has empowered new technologies but ruined others (like aeroplanes); you can see them with a bit of tech that requires you to carry around an unborn baby in a little pod; and if the BTs ever manage to consume a living being (which they seem keen to), something akin to a nuclear explosion goes off. As a result, there was a bit of an apocalypse, which ended up with the world's remaining population reduced to huddling in isolated bunkers and cities, cut off from one other and relying on porters, like Reedus' character Sam, to make lonely supply deliveries between them across a perilous landscape. In the first game Sam made his way one load at a time across the US, connecting these settlements to the "chiral network" (a sort of tech-magic internet) handily averting the extinction of humanity while he was at it. At the outset of the second, he's something of a fugitive (having run off to illegally raise his little pod-pal, Lou), but is soon brought back into the fold to continue the mission of spreading the chiral network, this time into Mexico — and then, thanks to some more Death Stranding-world magic — across the whole of Australia. So yes, in a way you could simulate the experience of playing this game by joining the exodus across The Ditch and getting a job with Australia Post — but you'd miss out on a lot. Much of the game is spent just navigating Sam by night and day across the graphically gorgeous wilderness of Australia (filled with what seem to be authentic Aussie voice actors, which is nice), which serves up hazards such as local earthquakes, storms, flash floods, bush fires, and just plain overbalancing on a scree slope due to your towering backpack, faceplanting, and sliding 30m downhill — likely one of the more wince-inducing experiences in gaming. (Oh, and there's the magic rain that rapidly ages things, too.) Sam has plenty of options to facilitate his journey, from ladders and climbing ropes up to more high-tech options like hovering cargo platforms and off-road vehicles, though everything he brings along with him must be managed as part of his overall load. It's gameplay of quiet satisfaction: planning your route, packing well, the often Zen-like quality of the journey itself, and the "job well done" of cargo delivered undamaged at the destination (uh, or maybe just a bit damaged — sorry, there were these ghosts). Your fellow porters are with you along the way, too. Though they never enter your game directly, you're able to share resources and supplies with other Beach players via the game's "Strand" system, which can include answering quests for aid, leaving signs or structures for others to find, completing your fellow players' deliveries, or collaborating on larger projects like road-building. There's a little buzz to the game letting you know that scores of people have used a bridge you built, but it's possibly even cooler to learn that a single player elsewhere in the world stumbled across and took shelter in the little hut you left halfway up a mountain in the middle of nowhere. Your travel vlogging, though, is interrupted by regular combat encounters out in the wilds, both with human banditry and the BTs. The former provide some fun, if standard, third-person melee / ranged / stealth encounters, with the wrinkle of occasionally finding yourself in a four-man brawl while wearing a backpack the size of a fridge. BTs though, while nicely terrifying, are a bit of a pain in the butt, employing a "tar" mechanic that often leaves Sam struggling to move, and are most heavily damaged by grenades that can be tricky to aim. They're also your opponents for most of the game's boss fights, which can be exercises in frustration until you adapt to the rhythm of managing your inventory on the go while fighting. Actual gameplay, though, is only so much of the On the Beach experience. If Kojima is a rock star, he's David Bowie — arty, outre and throwing everything at the wall to see what sticks, no matter how weird. Get ready for Hollywood directors galore, forensically motion captured, to drop in as actors, Lea Seydoux to keep crying a Single Tear of Emotion while wearing a scarf that's a spare pair of hands, and red-hooded cultists schlepping their evil leader around through phantom tar in a Gothic techno-sarcophagus. Careening from bizarre to moving and back, the story makes the most of the possibilities of a world in which the afterlife is real, technology is basically magic and people can come back from the dead, taking big swings at big themes of loss, the importance of human connection and the inevitability of our extinction — all while pulling moves like "so this character is called Dollman, he's a possessed ventriloquist's dummy. Just roll with it". While it is a lot (and you sometimes have cause to wonder if anyone ever tells Kojima he has had a bad idea), it just about all comes together as something that's often quite profound. Perhaps more striking than this though is that as a gaming experience, it's so very singular — the sort of different that's normally destined to be ironed out of games with giant budgets that need the broadest possible appeal. You're simply unlikely to play anything like Death Stranding 2 until, well, probably Death Stranding 3. So hitch up your pack, head for the horizon and think heavy thoughts about how human connection is all we have as our species heads into terminal decline. Oh, and also, Norman Reedus' bladder meter is full; press circle to have him pee in a bush. By Ben Allan From: Sony / Kojima Productions
The Province
6 days ago
- Entertainment
- The Province
Vancouver Folk Festival: A classic Neil Young album reimagined, plus 5 must-see performers
The tribute is part of a continuing series of performances at the Folk Festival that explore the work of iconic acts July 10, 1974: Neil Young performs with Crosby, Stills, Nash and Young at Vancouver's Pacific Coliseum. Photo by Rob Straight / PNG Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Exclusive articles by top sports columnists Patrick Johnston, Ben Kuzma, J.J. Abrams and others. Plus, Canucks Report, Sports and Headline News newsletters and events. Unlimited online access to The Province and 15 news sites with one account. The Province ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles and comics, including the New York Times Crossword. Support local journalism. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Exclusive articles by top sports columnists Patrick Johnston, Ben Kuzma, J.J. Abrams and others. Plus, Canucks Report, Sports and Headline News newsletters and events. Unlimited online access to The Province and 15 news sites with one account. The Province ePaper, an electronic replica of the print edition to view on any device, share and comment on. Daily puzzles and comics, including the New York Times Crossword. Support local journalism. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors On July 19, 1974, Neil Young previewed his fifth solo album, On the Beach, at a surprise concert in Los Angeles. As a nod to that event, the Vancouver Folk Music Festival presents On the Beach: Neil Young Reimagined on July 19 at Jericho Beach. Featuring the Hen House All-Stars backing band led by Juno Award-winning guitarist and producer Steve Dawson, the lineup of musicians honouring Young's legacy includes Krystle Dos Santos, Sue Foley, Margaret Glaspy, Rich Hope, Marcus Mosely, Marin Patenaude, Samantha Parton, Kenneth Pattengale and Julian Taylor. This is part of a continuing series of performances at the Folk Festival that explore the work of iconic acts, such as Grateful Dead and Bob Dylan, as interpreted by artists who put their own distinct twist on material considered part of the classic-rock canon. This advertisement has not loaded yet, but your article continues below. While the focus is on Young's seminal 1970 record After the Gold Rush, it draws from across his prolific career. Dawson says the fact that such an oddball could arrive in Los Angeles in the early 1960s and become the toast of the town is something that defies all music industry conventions. Mining his own distinct brand of guitar playing and songwriting to great success is something that can't be copied and has made Young a role model and inspiration for generations of Canadian musicians. Steve Dawson supplied 'He's not like other iconic Canadian songwriters who reference the country a lot in their material either, like The Tragically Hip,' said Dawson. 'But anyone, in any country, would have a huge amount of respect for what he's done and how he's done it. It's one of the reasons so many amazing voices have taken on his songs, and hearing them interpreted by the singers we have for this event is really exciting.' Essential reading for hockey fans who eat, sleep, Canucks, repeat. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. Award-winning Black Canadian/Mohawk artist Julian Taylor, who also appears as a feature act at the folk festival and at the incredibly popular gospel workshop on Sunday morning, admits that Young is an inescapable presence. 'There are some records that resonate with me and are personal favourites, such as On the Beach and Tonight's the Night, but he loses me a lot of the time as well,' said Toronto-based Taylor. 'For musicians working in my area, his influence is everywhere, and trying to think of another artist who has that definitive folk style but isn't afraid to really crank it up is rare. 'I'm always up for trying out a project like this, but honestly I'm more of a Robbie Robertson of the Band or Bob Dylan type of guy.' This advertisement has not loaded yet, but your article continues below. Musician Julian Taylor. Photo: Lisa MacIntosh/Handout Having performed at the folk fest numerous times with the Sojourners and the Good Noise Gospel Choir, Vancouver vocalist Marcus Mosely estimates he has played the event five or six times. Singing Neil Young songs has never been on his bucket list of material to perform, but he's excited to be involved in the reimagining project, as well as hosting the gospel workshop featuring one of his idols, Texas belter Ruthie Foster. 'Like anyone else who is a child of the '60s, I grew up listening to Crosby, Stills, Nash and Young and his solo work,' said Mosely. 'While I've not followed every stage of his career, so much of his solo material has been a part of my upbringing. The song I'm doing is Tonight's the Night, which is completely outside my wheelhouse. But I love the way that Steve has brought his 'Steve-isms' into it, making it very fresh.' This advertisement has not loaded yet, but your article continues below. That 'fresh' approach to what can sometimes be a little too-classic material is what makes these reimaginings different from a tribute show. Vancouver Folk Music Festival artistic director Fiona Black says she wouldn't be interested in presenting that kind of a show, mixing local talents with national and international performers. 'Tributes conjure up images of a band trying to be the original artist and that is definitely not what we are doing here,' said Black. 'When you have a different, unique vocalist performing songs they want to put their stamp on, it's very much in Young's style, which is to never do a song the same way twice. We have a few new additions from the show at the Kay Meek centre last year, which was more of a focus on After the Goldrush.' This advertisement has not loaded yet, but your article continues below. These shows, Black notes, also allow people to discover new talents and launch themselves into embracing the diverse artist offering over the festival weekend. For full artist profiles and samples as well as the packed workshop and individual concert program, visit Don't miss these 5 artists at the 2025 Vancouver Folk Music Festival With three nights of evening main stage performances and several different workshops and individual concerts on the east, west and south stages, the Vancouver Folk Music Festival packs in a lot of music over a short period of time. From Appalachian and Atlas mountain music to blazing blues guitar and raw soul vocals, the 2025 edition of the festival provides the opportunity to check out sounds that suit your personal preferences, as well as find something wonderful and new to your ears. This advertisement has not loaded yet, but your article continues below. The best advice: Pick a few specific concerts and workshops and then leave yourself room to wander and wonder what you'll discover. Here are five acts not to miss: Bab L' Bluz When/where: Sat., 10:05-11 p.m., Main Stage; Sun., 12:30-1:30 p.m., West Stage Website: Latest album: Swaken About: This Moroccan-French crew's name translates as 'door of the blues,' and it's opening the way for women-fronted acts in the macho world of the desert blues sound that has captivated global audiences in recent years. Lead singer Yousra Mansour is a serious badass on her custom electric guembri (bass lute) and has a piercing wail that just rocks. Ruthie Foster When/where: Sun., 10-11:30 a.m., South Stage; Sun., 7:15-8:10 p.m., Main Stage This advertisement has not loaded yet, but your article continues below. Website: Latest album: Mileage About: Texas musician Foster is a dynamo whose work encompasses gospel, blues, folk, country and more. In songs such as the title track on her latest release Mileage, Foster serves up confessional songs of Black womanhood and LGBTQ+ issues with heart-stopping intensity. Sue Foley When/where: Sat., 11:10 a.m.-noon, East Stage Website: Latest album: One Guitar Woman About: Fingerpicking stylist Foley plays with passion, grace and fire. An absolute guitar hero, her latest release finds her unplugging and showcasing her amazing acoustic playing while paying tribute to legends such as Memphis Minnie, Sister Rosetta Tharpe and more. Take::Teke When/where: Fri., 3-4 p.m., West Stage This advertisement has not loaded yet, but your article continues below. Website: Latest album: Doppleganger About: Japanese Canadian psychedelic crew Teke::Teke really rocks to a sound of its own. Incorporating everything from piccolo and brass alongside shredding surf guitar and pop hooks, the Montreal septet is one of a kind. Owing to being so in-demand globally, they don't play here often. Don't miss it. The Zawose Queens When/where: Fri., 10-11 p.m., Main Stage; Sat., 11:10 a.m.-12 p.m. West Stage; Sat., 12:25-1:15 p.m., South Stage Website: Latest album: Maisha (coming soon) About: Taking the music traditions of the Wagogo, or Gogo, people of Tanzania into contemporary realms, Pendo and Leah Zawose come from a musical dynasty. Pendo's father, Hukwe Zawose, recorded for Peter Gabriel's Real World Records, and now Pendo and her niece are leading the way for women playing Gogo music. sderdeyn@ Read More Love concerts, but can't make it to the venue? Stream live shows and events from your couch with VEEPS, a music-first streaming service now operating in Canada. Click here for an introductory offer of 30% off. Explore upcoming concerts and the extensive archive of past performances. Crime News News News News
Vancouver Sun
6 days ago
- Entertainment
- Vancouver Sun
Vancouver Folk Festival: A classic Neil Young album reimagined, plus 5 must-see performers
Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. On July 19, 1974, Neil Young previewed his fifth solo album, On the Beach, at a surprise concert in Los Angeles. As a nod to that event, the Vancouver Folk Music Festival presents On the Beach: Neil Young Reimagined on July 19 at Jericho Beach. Featuring the Hen House All-Stars backing band led by Juno Award-winning guitarist and producer Steve Dawson, the lineup of musicians honouring Young's legacy includes Krystle Dos Santos, Sue Foley, Margaret Glaspy, Rich Hope, Marcus Mosely, Marin Patenaude, Samantha Parton, Kenneth Pattengale and Julian Taylor. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. This is part of a continuing series of performances at the Folk Festival that explore the work of iconic acts, such as Grateful Dead and Bob Dylan, as interpreted by artists who put their own distinct twist on material considered part of the classic-rock canon. While the focus is on Young's seminal 1970 record After the Gold Rush, it draws from across his prolific career. Dawson says the fact that such an oddball could arrive in Los Angeles in the early 1960s and become the toast of the town is something that defies all music industry conventions. Mining his own distinct brand of guitar playing and songwriting to great success is something that can't be copied and has made Young a role model and inspiration for generations of Canadian musicians. 'He's not like other iconic Canadian songwriters who reference the country a lot in their material either, like The Tragically Hip,' said Dawson. 'But anyone, in any country, would have a huge amount of respect for what he's done and how he's done it. It's one of the reasons so many amazing voices have taken on his songs, and hearing them interpreted by the singers we have for this event is really exciting.' Award-winning Black Canadian/Mohawk artist Julian Taylor, who also appears as a feature act at the folk festival and at the incredibly popular gospel workshop on Sunday morning, admits that Young is an inescapable presence. 'There are some records that resonate with me and are personal favourites, such as On the Beach and Tonight's the Night, but he loses me a lot of the time as well,' said Toronto-based Taylor. 'For musicians working in my area, his influence is everywhere, and trying to think of another artist who has that definitive folk style but isn't afraid to really crank it up is rare. 'I'm always up for trying out a project like this, but honestly I'm more of a Robbie Robertson of the Band or Bob Dylan type of guy.' Having performed at the folk fest numerous times with the Sojourners and the Good Noise Gospel Choir, Vancouver vocalist Marcus Mosely estimates he has played the event five or six times. Singing Neil Young songs has never been on his bucket list of material to perform, but he's excited to be involved in the reimagining project, as well as hosting the gospel workshop featuring one of his idols, Texas belter Ruthie Foster. 'Like anyone else who is a child of the '60s, I grew up listening to Crosby, Stills, Nash and Young and his solo work,' said Mosely. 'While I've not followed every stage of his career, so much of his solo material has been a part of my upbringing. The song I'm doing is Tonight's the Night, which is completely outside my wheelhouse. But I love the way that Steve has brought his 'Steve-isms' into it, making it very fresh.' That 'fresh' approach to what can sometimes be a little too-classic material is what makes these reimaginings different from a tribute show. Vancouver Folk Music Festival artistic director Fiona Black says she wouldn't be interested in presenting that kind of a show, mixing local talents with national and international performers. 'Tributes conjure up images of a band trying to be the original artist and that is definitely not what we are doing here,' said Black. 'When you have a different, unique vocalist performing songs they want to put their stamp on, it's very much in Young's style, which is to never do a song the same way twice. We have a few new additions from the show at the Kay Meek centre last year, which was more of a focus on After the Goldrush.' These shows, Black notes, also allow people to discover new talents and launch themselves into embracing the diverse artist offering over the festival weekend. For full artist profiles and samples as well as the packed workshop and individual concert program, visit . With three nights of evening main stage performances and several different workshops and individual concerts on the east, west and south stages, the Vancouver Folk Music Festival packs in a lot of music over a short period of time. From Appalachian and Atlas mountain music to blazing blues guitar and raw soul vocals, the 2025 edition of the festival provides the opportunity to check out sounds that suit your personal preferences, as well as find something wonderful and new to your ears. The best advice: Pick a few specific concerts and workshops and then leave yourself room to wander and wonder what you'll discover. Here are five acts not to miss: When/where: Sat., 10:05-11 p.m., Main Stage; Sun., 12:30-1:30 p.m., West Stage Website : Latest album : Swaken About : This Moroccan-French crew's name translates as 'door of the blues,' and it's opening the way for women-fronted acts in the macho world of the desert blues sound that has captivated global audiences in recent years. Lead singer Yousra Mansour is a serious badass on her custom electric guembri (bass lute) and has a piercing wail that just rocks. When/where : Sun., 10-11:30 a.m., South Stage; Sun., 7:15-8:10 p.m., Main Stage Website : Latest album : Mileage About : Texas musician Foster is a dynamo whose work encompasses gospel, blues, folk, country and more. In songs such as the title track on her latest release Mileage, Foster serves up confessional songs of Black womanhood and LGBTQ+ issues with heart-stopping intensity. When/where: Sat., 11:10 a.m.-noon, East Stage Website : Latest album : One Guitar Woman About : Fingerpicking stylist Foley plays with passion, grace and fire. An absolute guitar hero, her latest release finds her unplugging and showcasing her amazing acoustic playing while paying tribute to legends such as Memphis Minnie, Sister Rosetta Tharpe and more. When/where: Fri., 3-4 p.m., West Stage Website : Latest album : Doppleganger About : Japanese Canadian psychedelic crew Teke::Teke really rocks to a sound of its own. Incorporating everything from piccolo and brass alongside shredding surf guitar and pop hooks, the Montreal septet is one of a kind. Owing to being so in-demand globally, they don't play here often. Don't miss it. When/where: Fri., 10-11 p.m., Main Stage; Sat., 11:10 a.m.-12 p.m. West Stage; Sat., 12:25-1:15 p.m., South Stage Website : Latest album : Maisha (coming soon) About : Taking the music traditions of the Wagogo, or Gogo, people of Tanzania into contemporary realms, Pendo and Leah Zawose come from a musical dynasty. Pendo's father, Hukwe Zawose, recorded for Peter Gabriel's Real World Records, and now Pendo and her niece are leading the way for women playing Gogo music. sderdeyn@ Love concerts, but can't make it to the venue? Stream live shows and events from your couch with VEEPS, a music-first streaming service now operating in Canada. Click here for an introductory offer of 30% off. Explore upcoming concerts and the extensive archive of past performances.
Calgary Herald
6 days ago
- Entertainment
- Calgary Herald
Vancouver Folk Festival: A classic Neil Young album reimagined, plus 5 must-see performers
Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content On July 19, 1974, Neil Young previewed his fifth solo album, On the Beach, at a surprise concert in Los Angeles. As a nod to that event, the Vancouver Folk Music Festival presents On the Beach: Neil Young Reimagined on July 19 at Jericho Beach. Article content Article content Featuring the Hen House All-Stars backing band led by Juno Award-winning guitarist and producer Steve Dawson, the lineup of musicians honouring Young's legacy includes Krystle Dos Santos, Sue Foley, Margaret Glaspy, Rich Hope, Marcus Mosely, Marin Patenaude, Samantha Parton, Kenneth Pattengale and Julian Taylor. Article content Article content This is part of a continuing series of performances at the Folk Festival that explore the work of iconic acts, such as Grateful Dead and Bob Dylan, as interpreted by artists who put their own distinct twist on material considered part of the classic-rock canon. Article content Dawson says the fact that such an oddball could arrive in Los Angeles in the early 1960s and become the toast of the town is something that defies all music industry conventions. Mining his own distinct brand of guitar playing and songwriting to great success is something that can't be copied and has made Young a role model and inspiration for generations of Canadian musicians. Article content Article content 'He's not like other iconic Canadian songwriters who reference the country a lot in their material either, like The Tragically Hip,' said Dawson. 'But anyone, in any country, would have a huge amount of respect for what he's done and how he's done it. It's one of the reasons so many amazing voices have taken on his songs, and hearing them interpreted by the singers we have for this event is really exciting.' Article content Article content Award-winning Black Canadian/Mohawk artist Julian Taylor, who also appears as a feature act at the folk festival and at the incredibly popular gospel workshop on Sunday morning, admits that Young is an inescapable presence. Article content 'There are some records that resonate with me and are personal favourites, such as On the Beach and Tonight's the Night, but he loses me a lot of the time as well,' said Toronto-based Taylor. 'For musicians working in my area, his influence is everywhere, and trying to think of another artist who has that definitive folk style but isn't afraid to really crank it up is rare.
