From the first song I heard him play I was hooked. His voice is striking. It has a raspy quality that's perfect for expressing tenderness and strength. His name is Andy Du Rego and he goes by the name Black Suit Devil.
Last month he played the Velvet Underground. A number of acts were on and the venue had some trouble with logistics but that night Black Suit Devil had an extra spark. Blind Man was particularly impactful. Du Rego's intro features a melodic guitar riff that glides into bold strumming. It's one of his songs with a message of peace that's both passionate and subtle.
There was a chorus of appreciation in the crowd when he opened Fumble with the lines, “Roll me a joint and pop me a bottle,” his delivery sharp and explosive on “pop”. The song is about more than having fun, though. My impression is of struggle and the search for meaning.
By day Du Rego works full-time. By night, and in any other spare moment he's making a name for himself at clubs like the Rivoli, the Mod Club and the Horseshoe. Previously, he's been in blues bands, hard rock bands and a Stone Temple Pilots cover band. Offstage Andy is unpretentious and welcoming. He makes a point of greeting fans and is up for a genuine conversation.
Catch Du Rego while you can at an intimate venue - I'd say stadium concerts aren't far off.
Black Suit Devil plays The Opera House tonight, as part of an event called The Big One. Tickets at Ticketscene.ca.
Friday 15 May 2015
Wednesday 4 February 2015
Tom Waits Appreciation Congregation
Outside it was snowbanks and flurries while inside the windows were sweating. Castro's Lounge was so packed there wasn't room to stand without getting jostled. And no wonder - we were gathered to see the Tom Waits Appreciation Congregation. A sensational band with all the flavour, complexity and force of Waits' recordings.
This was my first time seeing them. Before the gig I told my friend about the band. “That's really cool,” she said, “since the bastard doesn't tour!” I didn't know this. And it was cool. Not because of the nostalgic factor that goes with experiencing favourites live. Because the band was cooking. When I arrived they were doing 16 shells from a 30.06. Extremely danceable, if there were any space to dance. Lie To Me was full of provocation and revelry. The singer used a megaphone for staticky effect on The Ocean Doesn't Want Me and for a siren sample, infusing another song with sounds of the street.
Mike Daley played lead plus bass parts on guitar. Drummer Lowell Whitty switched expertly between rock and jazz rhythms. N Jay Burr's tuba added both melody and bass. Braxton Hicks played enticing sax, clarinet and xylophone. Singer Marty Morin had just the right amount of gravelly and sweet and knew when to punch his delivery.
Clap Hands was the height of the first set for me. Sultry with mysterious riffs on guitar. Each musician seemed to play something completely disconnected from the other and somehow it was beautifully unified. Morin's rasping vocals were a perfect fit. Contrary to the lyrics, for me the music evokes a creaking ship and a ravaged storyteller's face lit by the glow of a cigarette.
The Congregation interpreted the more reflective songs like On the Nickel with sensitivity and grace. As an intro to Ol' '55 Morin pointed out that Waits used to hate the Eagles and call that kind of LA band “fringed jackets” until they recorded that song. “Then he loved them.”
Morin said they had a piece lined up for the finale but they were going to do it “now” instead. Meaning the end the first set. It was Goin' Out West and it sizzled. True grit, allure and poetry.
If I'd had more room to stand I definitely would've stayed for the second set. Next time I'll have to get there early.
TWAC plays Linsmore's Feb. 24th and Castro's Lounge Mar. 3rd.
This was my first time seeing them. Before the gig I told my friend about the band. “That's really cool,” she said, “since the bastard doesn't tour!” I didn't know this. And it was cool. Not because of the nostalgic factor that goes with experiencing favourites live. Because the band was cooking. When I arrived they were doing 16 shells from a 30.06. Extremely danceable, if there were any space to dance. Lie To Me was full of provocation and revelry. The singer used a megaphone for staticky effect on The Ocean Doesn't Want Me and for a siren sample, infusing another song with sounds of the street.
Mike Daley played lead plus bass parts on guitar. Drummer Lowell Whitty switched expertly between rock and jazz rhythms. N Jay Burr's tuba added both melody and bass. Braxton Hicks played enticing sax, clarinet and xylophone. Singer Marty Morin had just the right amount of gravelly and sweet and knew when to punch his delivery.
Clap Hands was the height of the first set for me. Sultry with mysterious riffs on guitar. Each musician seemed to play something completely disconnected from the other and somehow it was beautifully unified. Morin's rasping vocals were a perfect fit. Contrary to the lyrics, for me the music evokes a creaking ship and a ravaged storyteller's face lit by the glow of a cigarette.
The Congregation interpreted the more reflective songs like On the Nickel with sensitivity and grace. As an intro to Ol' '55 Morin pointed out that Waits used to hate the Eagles and call that kind of LA band “fringed jackets” until they recorded that song. “Then he loved them.”
Morin said they had a piece lined up for the finale but they were going to do it “now” instead. Meaning the end the first set. It was Goin' Out West and it sizzled. True grit, allure and poetry.
If I'd had more room to stand I definitely would've stayed for the second set. Next time I'll have to get there early.
TWAC plays Linsmore's Feb. 24th and Castro's Lounge Mar. 3rd.
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| Photo: Moonage Wolf, T-Shirt: Tom Waits' Alice |
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