Year of Years
2005 was in an incredible time for music - and not just because of the Juno Awards
John Kendle

In just half a decade or so, 2005 will likely be remembered by most Winnipeggers as ‘the year the Junos came to town.’
While certainly true, that description will be two things at once — selective memory on the part of some, cultural shorthand for others. It also does little to describe these past 12 months, which can truly be considered one of the most eventful years in Winnipeg’s musical history.

So what about those Juno Awards? Yes, the first weekend of April was a party, and yes, it was a blast to see such a somnolent city so highly energized. But the Junos are, first and foremost, a lavish television show. The show itself contained some memorable moments — tremendous performances by k.d. lang and The Tragically Hip and a gracious recovery by Feist when she was waylaid by technical troubles — but the real spirit of the Junos wasn’t found in the MTS Centre that Sunday night.

The real spirit of the Junos — which are meant to be a celebration of Canadian music and music-makers — was witnessed, felt and heard where all the best musical moments are found — in this city’s live music venues. The clubs were jammed all weekend and acts such as Matt Mays & El Torpedo, Doc Walker, Greg MacPherson and the inimitable Novillero (who also played an intimate late-night gallery gig rather than attend a hoi-polloi party thrown by the Asper family) brought the sound of Canadato life. For three days this city was the hub of the country’s music scene, and no one who remembers those days should ever forget how they felt.

The Junos thus kick-started a feel-good vibe among local concert-goers that was sustained through an unprecedented year of shows. The brand spankin’ new MTS Centre may not be the anchor of a downtown renaissance — but it was the locus of a concert schedule unlike any seen in previous years.

Using enthusiasm for the new building as a catalyst, shows by the likes of Green Day, Foo Fighters, Pearl Jam, Nine Inch Nails, Gwen Stefani — cripes, even Mötley Crüe, Judas Priest and Anthrax — helped make the Callbox one of the Top 25 concert venues in the world, according to concert industry source Pollstar Magazine.

And some of these shows were even good. Pearl Jam’s first gig in Winnipeg proper was an absolute wipeout, slaying even the most hard-hearted of doubters. The first 40 minutes of Green Day’s show were possibly the best 40 minutes of arena rock I’ve ever seen. And I had to laugh along when when Foo Fighter Dave Grohl recalled his punk rocker former self decrying arena rockers:

“I used to say ‘Arena rock? Fuck that shit, man. That shit sucks.’

“Now that I’m up here,” he grinned. “It feels pretty fuckin’ good.”

The big box on Portage wasn’t the only source of fun in own. Winnipeg’s smaller venues also continued their long traditions of hosting players from all over the world as well as nurturing local talent.

The West End Cultural Centre’s calendar overflowed with goodness at times, but Novillero’s May CD release bash, Evan Dando’s fall solo gig and a rowdy Corb Lund hoedown in October were the cream of the crop for this cowboy. (I can only wish I saw The Hold Steady. They’re my new favourite band — but deadline pressure kept me from attending that October night.)

The venerable old Walker Theatre was also home to some tremendous gigs. Tegan & Sara were scarily good early in the year, Queens of the Stone Age were a precise, fuzz-rock mindbomb in early summer and Bad Religion showed the kids how it’s done just last month.

My favourite club show is tough to pick, as there were many. The Donnas were cool-handed pros at the Pyramid in the spring, I love the Perpetrators every time and everywhere I see them, but I think I have to say The Waking Eyes’ gig at the Pyramid on Friday of Juno weekend showed how powerful that band can be.

The Winnipeg Folk Festival offered up some memorable moments. Catching The Weakerthans at a workshop tent, nearly swarmed by 500 fans on a sweltering afternoon was a high-water mark of that muddy weekend, as were Sunday afternoon workshop sets by Buddy Miller (who was joined by Emmylou Harris) and Feist, whose music was the soundtrack as I taught my son Matthew to fly a kite.

Reading this back, it’s apparent that local musicians did their part to rock my musical world in ’05 — so here’s some more:

Seeing The Wailin’ Jennys win a Juno was a wonderful moment, as was watching Novillero hit an artistic peak with Aim Right for the Holes in Their Lives. The return of the mighty Propagandhi, with the incendiary Potemkin City Limits, was probably the highlight of the autumn season.

Scott Nolan also impressed mightily with his No Bourbon and Bad Radio album. Luke Doucet, who doesn’t live here anymore but still mentions Chang and Walnut Street in his songs, has likewise hit a peak with Broken (and other rogue states). After being all the rage in 2004, Inward Eye stayed relatively low-key, but even they made noise by year’s-end by signing a deal with the legendary Clive Davis and his J Records imprint.

People to watch for in 2006? There are almost too many to mention, but I expect The Morning After, Alverstone and Romi Mayes to do some important and impressive things. I also hope I will be as surprised and moved and enthralled as I was this year.