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Written By: Jay McConnery Photos By: Dave Barrett John Fogarty - Ottawa Bluesfest 7-12-2011 Booking a festival like Bluesfest must be a lot like loading a shot-gun, taking a hundred paces back, pulling the trigger and trudging forward nervously with fluttering heart as excitement builds to see what has hit the target. Invites and offers must blast off from the Bluesfest offices on Catherine Street like endless roman candles destined for the hottest touring acts, with the highest of hopes. It's almost impossible to imagine it... over 250 acts. On average, as we all know with shotguns, most of the pellets aren't going to hit the bulls-eye, but thankfully some will- and it's hard to imagine any more of a bulls-eye booking for organizers than John Fogerty and his band, who rocked an enthusiastic Ottawa crowd on this Tuesday night like it was New Year's Eve in Las Vegas. Delivering the gamut of CCR classics and Fogerty solo hits, the easy going crowd this evening was very much focused in one place and it was easy to see why, when you are literally bombarded with hit, after hit, after hit of timeless rock'n'roll magic. Some might say the same could be achieved by spinning a Greatest Hits disc with some headphones, but the real difference is; that the Fogerty Band was relentlessly rocking. No two second pauses, man! Fogerty really took the reigns on lead guitar while engaging the audience continually through his obvious appreciation of our excitement and love of his songs and music. I literally tried to leave three times, but was stopped in my tracks by songs like 'Fortunate Son' and 'Bad Moon Rising'. Backed by a great band of musicians, most notably Joe Satriani clone Kenny Aronoff on the drums- the show had a very rocking vibe accentuated by Kenny's double kick fills and harder rock tendencies. The show was also visually fun to watch, sounded great and felt like a true main-stage performance. The only drawback of this set was I could only manage to catch three tracks from Baloji's set on the National Bank Stage, that featured musicians from Konono no.1, who kept a deep pocket rhythm of African Grooves for Baloji's French language rhymes. There were only a handful of people there and from what I heard, it may have been the best set no one saw. Baloji - Ottawa Bluesfest 7-12-2011 We arrived a few hours earlier to a different scene. Canadian rockers Three Days Grace were holding court on the Claridge Stage, and confidently rocking socks. I had been warned previously that they were a Nickelback clone, and until hearing them, I thought this band was actually going to be Theory of a Deadman. Turns out Three Days Grace doesn't sound like Nickelback as much as they could, but they do have a slick polished sound, fiery pyrotechnics and maybe one poodle haircut which are similarities to the Canadian supergroup as well as their obvious popularity, evidenced by a rapt audience. I wasn't interested however, and made my way to meander between the side stages in search of KettleKorn guy. Kettle-Korn! Here is where we drift into the intact papery perimeter of the original bulls-eye target, that feels like its got substantially fewer pellet holes, with maybe a couple poked in at the last minute with a pencil. Dana Fuchs - Ottawa Bluesfest 7-12-2011 Dana Fuchs had the largest crowd at the Subway stage and was definitely 'throwing down' heavy blues rock in the spirit of Janis Joplin. Her voice at times felt like a clone of the tragic songstress, including her inflections and improvisational scat stylings. Thankfully, the tight-jeaned squats, bosom thrusts and crotch flair work kept things light for those afraid of ghosts. Her band delivered heartfelt originals and a tight rendition of 'Helter Skelter' with patience and precision, while Dana writhed on the stage monitors, seemingly placing the previously enthusiastic gentlemen in the front row under her spell. I'm sure the good people at Southern Comfort will be following her career closely. Andrew Jr. Boy Jones - Ottawa Bluesfest 7-12-2011 Ian Kelly, meanwhile, on the Hard Rock stage had one of the more polished sounding groups I'd heard so far this festival. Even though the talent is certainly there, the songs were inconceivably poppy for most, and especially me, who lasted only a few minutes before trudging over the hill and planting myself at the National Bank Stage for some...*gasp*... blues!! Andrew Jr Boy Jones had a tight blues combo ripping through solos and riffs, keeping the audience moving or at least shuffling. Sharing the stage with horns, and a fantastic female lead, Andrew Jr. led his group through some of the only blues I'm likely to see all festival, and I'm okay admitting that. I had full intention of spending some time with Buck 65, but I only caught a few moments between Fogerty hits. All in all, an amazing way to spend a Tuesday night. As soon as the festival starts to feel like it's going on forever, you take a look at things and notice you are closing in on the end way quicker than you thought, so remember: we still have 5 days of music to enjoy before detox begins! .......And My Morning Jacket is playing tonight!!

Written By: Jay McConnery Photos By: Mike Bouchard The Black Keys - Ottawa Bluesfest 7-8-2011 The week-end days bring out the best in the Bluesfest experience, as you can feel the machine firing on all cylinders and revellers can fully submit without thoughts of the next morning. Instead of wrestling with transportation logistics, keeping an eye on the dreaded clock, or mulling details of an early morning meeting, there is only the here and now on which to focus all your leisure attention, which really makes all the difference in live music. Friday night blew in a huge crowd and proportionally out of control beer lines; legions of younger fans checked out 'Rise Against' and fans of the heavy blues duo 'The Black Keys' anticipated their headlining set keeping the festival plaza rippling with electricity. I looked forward to a peak at Wanda Jackson, but I felt 'Hey Rosetta!' was the place to be as the group's samples were among the most intriguing I'd heard, and I felt they were poised to deliver something amazing. Unfortunately, Friday also blew in a freak storm with a very high winds and sideways rain, that had all stages shut down for a good portion of the night. Thankfully there was no shortage of cover in the War Museum, or in some of the various tents onsite, and folks were able to safely wait out the weather. It was a lengthy break though, and volunteers became the festival's front-line as the wet throngs inquired if there was any word as to whether the night had been called off, or if hope remained. As the clock approached the final hour of the evening there was still no information to share, however they had been instructed to stop scanning tickets, which led them to assume the night was over. By this point, half the crowd had left anyway, so I admittedly hopped on my bike towards home- and it was just about the half way mark where I heard enthusiastic cheering, and the raunchy blues riffs of the Black Keys emerging. It would've been a great opportunity for them to come out and own the night, and from all reports the duo stepped up and delivered a great, but short set. Oh well, can't win em all I suppose. The Peter Elkas Band - Ottawa Bluesfest 7-9-2011 In contrast, Saturday was one of those perfect weather days that felt a bit like a dream. Hazy clouds, or some very artistic and hopefully not poisonous chem-trails painted the sky, adding to the vibe as we enjoyed a mid-afternoon arrival and stroll among the stages. We ducked into a busy Barney Danson theatre to check out the Peter Elkas Band. Backed by 3/4 of the locally legendary Burt Neilson Band, as well as a saxophone player, Elkas shared some tracks from his new record 'Repeat Offender' which felt in step with his soulful Motown tendencies. There was also a healthy helping of E-Street vibe and knowing of Elkas' love of the Boss, it made sense hearing the straight rock beats and rhythmic piano stylings fit into his original sound. The theatre certainly has it's pros and cons from the perspective of both the performer or the audience, but the band kept us engaged with their tasteful playing and spot on harmonies. Another highlight was a great version of Otis Redding's 'I Can't Turn You Loose'. Hopefully one day we'll see them playing on a big stage, out in the sun while enjoying beer. From the confines of the theatre, we walked back outdoors and over to the Subway stage to check out 5x BMA nominee MICHAEL POWERS. Now, I've never been nominated for a Blues Music Award- but I bet if I had been, or ever am, I wouldn't demand that that information appear along side my name every time it is written, uttered or pondered. He definitely played the blues, but I actually can't remember one interesting thing about his music, because I spent all my time imagining the decision making process that led to his multiple nominations becoming his title, if not his name. Also, why in CAPS, MICHAEL? Is this how you get attention in the world of the Blues? Enough about 5x BMA nominee MICHEAL POWERS, but hopefully next year 1x JAMMY AWARDS nominee NERO will be invited to re-unite for a high paid set at the festival. Erykah Badhu's delayed start led to setting up semi-permanent camp at the Subway stage, which resulted in being treated to the electro Latino vibes of the Spam Allstars. Keeping things rolling through the late afternoon warmth, the grooves were danceable and highlighted by some fantastic percussive work. DJ le Spam's base tracks are heavy and he is as energetic as they come behind his decks. Saturday was a big night of music as far as headliners go, with M. Ward, the Tragically Hip and Shpongle all going head to head. I started out at the Hip, and couldn't help but be impressed with their musical tightness and iconic stage presence. This is really one of Canada's best-ever bands, and by the size of the crowd, the people know this. The band played with virtuous-tic purpose and was totally on point for everything I witnessed. Gord Downie started with his antics early, offering as he typically does, an entirely improvised one-man mime show featuring hundreds of characters in interpretational scenarios, while simultaneously singing the hits. I think his method of engagement is superbly original, and still draws me in after twenty years seeing them live. However, I miss the days when you could actually count on him to sing a few songs with that unique tambre, instead of scream everything, off-kilter of the original vocal patterns. M. Ward was a quick stop, as I was quite keen to spend some time with Shpongle.. and Simon Posford did not dissappoint. With a long set of psci-trance delivered from atop a white pyramid with face melting projections, visual effects and enough smoke'n'mirrors to entertain even the most sober of witnesses there was no leaving. The scene was also very sparse and friendly, and I find as I get a little older, atmostphere can sometimes be equally as important as the music. Saturday ended dancing among friends and making plans for go for a few drinks and keep the festival magic alive. Peter Frampton - Ottawa Bluesfest 7-10-2011 Sunday was one of the festival's big programming days, and the only way to approach these conflict ridden days is to submit to the flow. We arrived to Peter Frampton rocking the mainstage with an outstanding group of players. Dancing through the classics of 'Frampton Comes Alive' was never more fun, but his acoustic portion was a little on the sleepy side, so after filling up on the hits, we zipped over to the National Bank stage to check out 'Neon Indian'. Sadly, this set was re-scheduled to an earlier start and we missed it entirely. That's okay- the Funky Meters are playing just over the hill! Amazing to watch these legends playing music that has been so influential for so many. George Porter Jr. is a monster of a bass player, and drummer Russell Batiste Jr. plays with such groove, that it appered the entire drum riser was in danger of collapsing-- in fact, cymbals were falling off, microphones were toppling, and the whole kit was quivering like a jellow salad. It was actually making me a little anxious to see- but he never missed a beat and the band kept the whole crowd transfixed and grooving. I would've taken in the whole thing, but one of my childhood favourites, Huey Lewis and the News, were about to kick off at the Claridge stage. Connected with friends and dug into a set peppered with hits, but made up mostly of new 'Soulsville' material. There were a few glaring emissions, (Hip to be square? Stuck with you?) but it was a real nice time.. although things got a little uncomfortable when Huey sang about being a '60 minute man', and gesturing suggestively, igniting further discussion of his rumoured prowess. Committing to this set was tough, because it meant missing Hypnotic Brass Ensemble and Yukon Blonde entirely, both whom I was excited to see on the roster. One more point for nostalgia, I suppose. Huey Lewis and the News - Ottawa Bluesfest 5-10-2011 The last slot of the night was split between Leon Russell, lighting up the stage with his huge white beard and attire like the ghost of country Christmas past, A Perfect Circle and Dumpstaphunk. Leon Russell has played with everyone and seemed to be sampling all their catalogues for this performance. Soaring pedal steel and mandolin complimented his piano work and Willy Nelson-like vocals, through awesome arrangements of tunes like 'Wild Horses' and 'I've Just Seen a Face'. Definitely a personality that I'd like to learn a little more about. Took a quick visit to see 'A Perfect Circle', and although I didn't stay long, the tight crispness of the music intrigued me to explore their catalogue as well. They played a dark version of 'Imagine' as I jogged over to Dumpstaphunk to check out some great funk. I stopped along the way at the western porta-potties and took 'A Perfect Dump'. Ivan Neville's Dumpstaphunk is a perfect festival set experience- funky to the core and loaded with talent. Also a great way to end the weekend, dancing amongst great friends. A short bike-ride home and I'm ready for a day off. Sleep well.

Peter Elkas was booked to play the Barney Danson Theater during the early apex of the Ottawa Bluesfest which might feel disengaging but when you put together 3/4 of the Burt Neilson Band with Peter Elkas you HAVE a show worth experiencing. It was Saturday, a day that the Tragically Hip were booked as well, so one would know that the line-ups would be insane this evenings. However, if you came early and took in the sun, you'd want to be in that air-conditioned theater for some SOUL music. Peter Elkas is a very handsome tall white dude that can sing the soul and play the guitar inconspicuously to the point that one needs to look away to make sure that this is really happening. Playing his catalogue for the 200 or so patrons of the theatre was effortless, seemingly, yet we all knew there was effort involved. For instance, he didn't have his regular bass player with him. Instead, his backline included Jeremy Little (Bass Laser) from the Burt Neilson Band. It doesn't end there because the rest of the band was the rhythm section of the BURT NEILSON BAND. The elephant in the room for fans of both Peter Elkas and the BNB was alluded to by a request from an audience member who recognized the connection and requested a song by the BNB. Peter subsequently introduced the guys as such and pointed out that he didn't know any BNB songs. He should learn one for these moments. He's got the best rhythm section in Canada that aren't yet winning Juno's. Peter plays to his crowd like there are 30,000 people in front of him. The consistent smile that he makes while noticing that his band is playing his songs as he envisioned is evident and there were a couple of moments where it looked like he was having a serious rush...in his eyes. From Sweet Nancy to an Otis Redding cover (think Blues Brothers stage intro) Peter's setup included Jeff Heisholt on keys, Gavin MacQuire on the kit, Jeremy Little on Bass (Laser) and Joe (I missed his last name) on horns. You have to hand it to a band that brings a one man horn section. It really fills out the soul. I was flying solo that night so I grabbed any available seat that was in the front row so I could take some photos with my flash-free technology. Here area few photos from this fantastic event.