Sufjan Stevens is finally back and this time with an unexpected, 60-minute EP entitled All Delighted People. On August 20th the EP was released digitally by Asthmatic Kitty Records for a modest price of $5 and is also streamed online on Bandcamp. It was released, as stated on the website, as a “homage to the apocalypse existential ennui, and Paul Simon’s Sounds of Silence.”

All Delighted People revolves around two versions of the album-titled track, both extremely distinguished from one another. The first is the original version, which opens the album. The solo artists couldn’t have written a more distinctive “Sufjan Steven’s” song. In its 11 minutes, it’s clear that the track is instrumentally rich. The songs is charged with strings, trumpets, dreamy vocals and even choral sections similar to Stevens hit Chicago. I’m sure after listening there are “many delighted people raising their hand”. The second version, referred to as the classic rock version, sounds less like the indie folk ballads we are generally accustomed to hearing from Stevens. With the banjo, electric guitar solos, and electronica influences, the song is very upbeat.

The EP carries on with tracks like The Owl and the Tanager, Enchanting Ghost and Heirloom, none of which are particularly standout tracks. To redeem this however is Djohariah, which finishes All Delighted People on an exceptional note. A whopping 17-minute long track, it is the highlight of the EP. A doppelgänger to the song Sister off of Seven Swans, it is as Asthmatic Kitty’s website proclaims, “a guitar jam-for-single mothers.” It still amazes me that in spite of the length, Djohariah only progresses into a more beautiful song as time goes on.

Despite the vast differences in these tracks, surely a Sufjan Stevens fan would not find this surprising. Essentially every album in his extensive discography has varied greatly in styles, ranging from folk, to electronic, to symphonic, to Christmas carols. Consequently, one should expect his latest effort to be no different.

What is surprising, however, is the absence of a clear theme throughout the EP. Not that this detracts from the quality of the songs, but a defined characteristic of Stevens’ previous work is that they have coherent concepts, often spiritual, which All Delighted People seemingly lacks. This could potentially be why, despite its eight track and 60-minute long length, the album was released as an EP rather than an LP, but coming from an artist with such musical ambition, it seems unlikely. After all, we are talking about a man who set to embark on the “Fifty States Project”.

Perhaps at the ripe age of 35 he has simply lost his zeal. It seems possible when you consider that the only material released since 2005’s wildly acclaimed Illinois is a Christmas album, a few re-releases and some b-sides. It seems even more plausible after the singer’s statement last year, “What is the point of making music anymore?” Regardless, I refuse to jump the gun, especially when it comes to the musical Shaman that is Sufjan Stevens. Still, whether or not he really is back as a force to be reckoned with, I haven’t yet decided. The free single I Walked, which was released mere days after All Delighted People, leads me to believe he has it in him, but only time will tell with the release of the full length The Age Of Adz on October 12th.

We’re officially a week away until Interpol release their self-titled fourth album, which finds the suave New Yorkers back on their original “indie” label of Matador Records after a brief fling with “major” EMI. Will it be a return to the brooding brilliance of their first two albums? According to the label Interpol is “hypnotic, bizarre, always indelible” and also “the band’s magnum opus.” I guess we’ll see if that’s true on September 7th.

While you wait, check out this short chat we did with Interpol’s Daniel Kessler (above, left) while he was in Toronto recently during a promotional stop. The dapper guitarist reveals to us what is currently getting regular plays on his iPod as well as what lucky band they’ll be taking on the road with them.

Ra Ra Riot The Orchard [Arts & Crafts]

Need to know: Ra Ra Riot were born in 2006 and came storming out of the gates like a Kentucky Derby winner. Known for their spirited live shows, the band became a blog darling after a series of triumphant gigs during the 2007 South By Southwest Conference. However, shortly after, the band lost their drummer John Pike, who drowned to his death in Buzzards Bay, Massachusetts in June. Ra Ra Riot carried on with Cameron Wisch as their new drummer though, releasing their debut EP the next month and eventually signing to prestigious indie label Barsuk for their first album. The Rhumb Line was released to generally positive reviews in 2008, and they toured extensively with Tokyo Police Club that year. Two more EPs followed. The band self-produced their second album, The Orchard, choosing labelmate Chris Walla of Death Cab For Cutie and Rostam Batmanglij of Vampire Weekend to help mix.

In a 100 words or so: Ra Ra Riot’s second album isn’t much of a departure from The Rhumb Line. But where that album failed to live up to the promise they exhibited with their 2007 self-titled EP, The Orchard finally delivers. The title track isn’t the best example of this; overtly theatrical, it’s carried by a sweeping string section, a bass line and Wes Miles’ poignant words. It comes off as a little too intense for an album opener, yet adds to the band’s sprawling palette of wonderfully arranged indie pop. The abruptness of segueing into a peppy number like “Boy” feels like a bit of a misstep, but that song’s vibrancy acts like some kind of memory eraser, especially once the restless rhythm kicks into the subsequent track, “Too Dramatic.” Ra Ra Riot’s strength is in just how diversified and open their orch pop is. All too often the strings are the driving force behind a band that sports a violinist, but they integrate influences such as blatant ‘80s keyboard tones (“Foolish”) and the type of Afro-pop rhythms and geographical referencing we’ve come to know from Vampire Weekend (“Massachusetts”). Proving the early hype wasn’t a fluke, The Orchard is the kind of well-rounded, syrupy record we’ve come to hope for from the indie pop set.

Best track: “Shadowcasting”

R.I.Y.L. Vampire Weekend, Local Natives, The Morning Benders, Miniature Tigers, Fanfarlo, Stars

Rating: 7 out of 10

Buy, download, steal or don’t bother: Download on iTunes.

Sample: “Boy”

Website: RaRaRiot.com

You may recognize the face above or even the name Baby Eagle if you’re familiar with Canada’s (former?) hardest working band, the Constantines. Steve Lambke has been a familiar presence in our country’s indie rock circuit for an official decade now, mostly because of his tenure as guitarist/vocalist/songwriter in the Cons. But for the last half-decade, Lambke has been occupying his free time as a rustic troubadour under the moniker Baby Eagle.

After two well-received releases through Outside Records - 2006’s Baby Eagle and 2007’s No Blues, Lambke brought his third and latest Baby Eagle effort to his own label, You’ve Changed Records, which he co-founded with Daniel Romano and Ian Kehoe of Attack in Black. Like with his previous albums, Dog Weather finds Lambke reaching out to some friends (Romano, as well as Shotgun Jimmie, and David Trenaman and Colleen Collins of Construction & Destruction) to help flesh out his songs, this time recording in a lakeside house in the middle of nowhere.

With Dog Weather, Lambke’s songwriting has undergone some changes as a result of both the persons involved and the rustic environment. There’s an undeniable shift from the downtrodden melancholy of albums one and two to a much sunnier demeanour, as well as a boost in the amplification, as Lambke and co have channeled Crazy Horse by plugging in and treading all over their Big Muff pedals.

Celebrating this week’s release of Dog Weather and prepping for an extensive cross-Ontario tour in September, Steve answered some questions about the new album as well as the future of the Constantines.

For each album you’ve gathered together different musicians to help you out. How did you end up assembling the band that made Dog Weather?
Shotgun Jimmie played on the last one and we’d been playing shows together in Sackville since I moved here, Jimmie on drums and me on electric guitar. Dan and I had played together a bit when we both happened to be living in Montreal, before I moved out east and he moved back to Ontario, and we had recorded the Baby Eagle/Attack in Black split together. I wanted somebody to play lead and Dan’s a great guitar player. David and Colleen of Construction and Destruction, we were recording at their house and I’m a fan of their records. Dave ended up playing most of the bass and Colleen added some little bits to a couple of tunes.

How has living in Sackville changed you as a songwriter? It must change the perspective you had when you were based in Guelph or Toronto.
Yeah, every place can inspire different things, local languages, landmarks, and new experiences. Some of the record was written when I was living in Montreal, and some of the particulars of life there are written into the songs, simple things like going down to the corner store to buy beer or wine, and not, you know, to the provincial run alcohol depot. Or, in Sackville, mention of the tides, muddy yards, old barns. But those are sometimes just the surface images and not necessarily what I think the songs are actually about.

The album was recorded in a rural house near a lake. Four friends out in the middle of nowhere. Any stories to tell?
We recorded it so fast! We were only there three days. Jimmie was leaving for a couple months on tour, Dan was leaving for an Attack in Black tour. We did it in the little bit of time we had, the guys learning the songs on the spot, figuring out arrangements really quick, recording everything live off the floor. We recorded at Construction and Destruction’s home studio, the Quarantine, in Port Greville, Nova Scotia on the Minas Basin of the Bay of Fundy. It was cold in the house. There were wood fires in the stoves and we were wearing lots of sweaters. Jimmie invented a colour: “Chaldren” - the happy black.

Was it this group of musicians that made you want to turn the guitars and fuzz up?
I’d definitely been heading in this direction, and a louder sound was definitely meant to be part of these new songs. But the record sounds the way it does because of the musicians that played on it. Even though we’d never all played together before it felt like a band and i think we played like a band.

You sound a bit happier on Dog Weather than on previous albums. Was that a reflection of anything in particular?
I don’t really know how to respond. The last record was really internal, and this record is definitely more concerned with the external, physical world. There’s definitely joy in that.

You released the album on You’ve Changed Records, the label you started with Daniel and Ian of Attack in Black. What are some of the pros and cons working for yourself?
I’m excited about it because we are doing it together, playing on each other’s records, helping promote each other, figuring out the business for ourselves, building relationships. The downside I guess would be the lack of outside resources to draw on, but i like the idea of making art within the means available, so I try not to think of that as a negative.

Finally, there are rumours circulating about the Constantines going on hiatus or even breaking up. What is the current status of the band? Do you personally think there will be another Constantines record?
A definite hiatus of indefinite length. Sounds like a break up. I really have no idea if there will be another record.

Catch Baby Eagle at one of the dates below throughout September and October…

Wed, Sept 22nd – Waterloo, ON - Jane Bond
Thurs, Sept 23rd – Toronto, ON - The Dakota Tavern
Fri, Sept 24th – Sudbury, ON - Millard’s Garage (all-ages)
Fri, Sept 24th – Sudbury, ON - Townhouse Tavern
Sat, Sept 25th – Kingston, ON - The Artel
Sun, Sept 26th - Oshawa, ON - Murphey’s Irish Pub
Mon, Sept 27th – Peterborough, ON - The Spill
Tues, Sept 28th – St. Catherines, ON - The Mansion House
Wed, Sept 29th – Guelph, ON - The Ebar
Thurs, Sept 30th – Montreal, QC - Le Cagibi (Sappyfest showcase at Pop Montreal)
Fri, Oct 1st - Ottawa, ON - Raw Sugar
Sat, Oct 2nd – Hamilton, ON - The Ship
Sun, Oct 3rd – Bayfield, ON - Black Dog

Posthumous: arising, occurring, or continuing after one’s death. Sublime find themselves in that all too unique, yet not uncommon situation in music, where the volume of work carries on after the key figure has gone. As a frenetic ball of angst, energy and love that I used to be as a teenager and then young man in University, bands like Sublime very much appealed to me. Not just for the overt references to marijuana culture, but more so for their blatant uproar against authority and societal ills and demons; one of which sadly took the life of their young singer who passed from a heroin overdose. Even as I read the headline on that fateful day back then, it seemed odd to me that someone who could sing with such positive force, especially about such negative topics, could have been using such a thing. So it goes.

As rebellion goes, Sublime made it more palatable than your average say-no-to-authority band. They infused it with an irony and satire unique to them and the reggae/ska overtones made them insta-hits at keggers, dorms and bush and beach parties. They had just reached the plateau of success when the tragedy occurred.

Now fronted by Rome Ramirez, who was roughly 6 or 7 years old when Brad Nowell passed, Sublime stood facing an overly aggressive yet eager crowd at the Kool Haus in Toronto on August 20. I would say with definite certainty that the majority of this crowd never had an opportunity to see Sublime in their original format, as most were likely still wading through the annals of grade school at the time. That being said, no one seemed deterred by it in the least.

Opening act the Dirty Heads, whose hit single Lay Me Down is currently making the rounds on commercial rock radio, opened with authority, unleashing a very crowd friendly infusion of rock/rap/reggae. Albeit a relatively unknown act, their set oozed of experience and the crowd was all too welcoming.

Next up, Sublime…or, Sublime with Rome, as they are titled to prevent further injunctions from the Nowell estate in regards to their defense of Brad’s legacy. Makes sense, but I think we are all glad that it has been put to pasture. It is quite evident why the band chose Rome. He is charismatic, he has stage presence and for better or for worse…he sounds like Brad.

As they wheeled their way through a smashing set of Sublime hits, oddities and even some truly engaging covers, the crowd was eating from the palms of their sweaty hands. At times Rome’s pedigree stood out with his vocal styles encountering some limitations to Nowell’s roots-rich add libs and throw-away signature shouts, which became a stand-out characteristic of Sublime’s music. But in the end, it was more than a good show. It was a culmination of man’s legacy of work from a music scene that Canadian’s have always adored. The California ska-punk-rock movement has shipped a relentless amount of music this way, and for the most part, us north of the border eat up their sun-drenched euphemisms and veiled or unveiled references to lethargic culture and illegal habits.

Whether they were old enough to know or not know Brad Nowell and Sublime, the crowd had no problem chanting every lyric and every phrase. Every call back song line and every shout was echoed en mass by the sweltering and sweaty crowd. You began to picture the Sublime CD in your head and wonder if these adoring fans had ever taken it out of their 5 disc player, their Discman, their Car deck or their IPod…depends on the age of the specific person you were staring at, I suppose.

Regardless of the age, and regardless of the singer, Sublime are allowing the public to revel in their music again and thousands of Nowell and Sublime fans alike are privileged enough to experience the rawness of their sound and style again. It’s music that brings people together and it’s music that makes people smile and dance. This is the power of being Posthumous; may his music live on…and on.

Grass Widow Past Time [Kill Rock Stars]

Need to know: The name Grass Widow is a reference to a woman whose husband is away at sea (it’s from the 17th century, of course). One bar of music though and it’s quite clear that this San Francisco trio have clearly been influenced by late ‘70s post-punk acts like Delta 5 and Kleenex, the early ‘90s Riot Grrl movement and the various artists that have come and gone on their new label, Kill Rock Stars. (They also cite ‘60s bands like The Kinks and The Move as inspiration.) Formed in 2007, Hannah Lew (bassist/vocalist), Lillian Maring (drummer/vocalist) and Raven Mahon (guitarist/vocalist) wasted little time writing their “very personal and often dark” songs, releasing both a full-length on Make A Mess Records and a four-song 12” on Captured Tracks last year. What’s perhaps most cool about Grass Widow is how the band is all about equality, putting no particular focus on any member or instrument, sharing songwriting and singing duties between the three of them. Says the band: “We want to thrive in our scene as musicians, with a focus on our musicianship first, not our gender. Our goal is to normalize the role of gender in our craft and have an avenue to express our intelligence and our love of music. We acknowledge that movements of the past created by or affecting women in the art and music worlds are hugely influential, but there is potential for the original sentiments to lose potency if the meaning is misinterpreted or not redesigned for a modern context. Even the riot grrl movement is kind of antiquated. You never really hear people talk about that ‘new riot grrl’ band. We owe a great deal to that lineage but it’s time for something new. We want to be portrayed as the responsible, thoughtful people that we are.”

In a 100 words or so: Past Time is a marked improvement from Grass Widow’s flawed yet charming debut album. While there isn’t much of a shift in sound – it’s still rickety, melodic post-post-punk – there’s a certain confidence that now rings from the songs. Credit the upgrade to a label as perfectly suited for them as Kill Rock Stars as playing some role in this, whether it was conscious or not. The band’s minimal, “no frills” approach now brings out their three-part harmonies and frenetic instrumentation, both of which have developed greatly, especially on a song like “Submarine.” While they might not have the buzz behind them like Vivian Girls did, Grass Widow can challenge any of their contemporaries and even ancestors to a songwriting competition – and win.

Best track: “Landscape”

R.I.Y.L. Kleenex, Erase Errata, Sleater-Kinney, The Raincoats, Slant 6, Vivian Girls

Rating: 7.5 out of 10

Buy, download, steal or don’t bother: This sounds best on vinyl, but check it out first here.

Sample: “Fried Egg”

Website: MySpace.com/GrassWidowMusic

!!! Strange Weather, Isn’t It? [Warp]

Need to know: Sacramento’s !!! (pronounced “chk chk chk” or any three sounds repeated in a row) emerged from the post-punk scene that broke in the early ‘00s. While most of those bands were known for their angular guitars and disco drums, !!! were renowned for their emphatic rhythms that were more funk-based than punk-based. A self-titled album in 2000 was greatly overlooked, but the band struck gold in 2003 with the politically-minded epic single “Me and Giuliani Down By the School Yard.” A second album, the awesome Louden Up Now, followed the next year and in 2006 they were the support act for the Red Hot Chili Peppers’ UK tour. In 2007, !!! released their third album, Myth Takes, which scored the band spots on video games like FIFA 08 and Grand Theft Auto IV. Singer Nic Offer and guitarist Tyler Pope used to moonlight in the equally rad but no longer active Out Hud. Pope is also a member of the live version of LCD Soundsystem.

In a 100 words or so: Recorded in Berlin, unfortunately Strange Weather, Isn’t It? doesn’t exactly break new ground for !!!. That may never have been the plan for recording their fourth album in a new environment, but it feels as though they have once again failed to make that leap from writing eternal punk-funk jams to actual songs. Die-hards may appreciate their dedication to the groove, but the verse-chorus-verse structure could do wonders for a band with this kind of throbbing dynamic. They experiment with this notion on “Even Judas Gave Jesus A Kiss,” but in the end that song eventually morphs into the same tune we’ve heard again and again. Strange Weather, Isn’t It? sounds like !!! are just going through the motions at this point instead of exploring a sound that is open to all kinds of interpretation.

Best track: “The Hammer”

R.I.Y.L. Out Hud, LCD Soundsystem, Public Image Ltd., The Rapture, Liquid Liquid, Soulwax

Rating: 6.5 out of 10

Buy, download, steal or don’t bother: Download “The Hammer” and “AM/FM.” Stream the album here and decide for yourself about the rest.

Sample: “AM/FM”

Website: ChkChkChk.net

Lost In The Trees All Alone In An Empty House [Anti-]

Need to know: Lost In The Trees began with the songs of one North Carolinian named Ari Picker. Like most singer-songwriters, Ari favours the acoustic guitar but thankfully doesn’t rely on the down-and-out busker image, fleshing out his songs not only with a proper full band, but also a classical slant. With a sound self-described as “orchestral folk,” Lost In The Trees are as serious about the strings as they are the acoustic guitar, thanks to Picker’s studies on classical music at the Berklee College of Music. Astonishingly, the band call Chapel Hill their home, yet aren’t part of the local Merge Records roster; instead they signed with Anti- Records. All Alone In An Empty House, the band’s debut album, is heavily inspired by Picker’s troubled childhood. In his words: “The song‘s locations and happenings, my father‘s stone wall, the tower off the side of the house that he eventually moved into, my twin sisters who died at birth, my mother’s extreme depression, the emotional and sexual abuses, they are all real. But my intention in sharing them is to turn this hard reality into art, something that the listener may find comfort or hope in.”

In a 100 words or so: Excuse the pun, but it’s impossible not to get lost in All Alone In An Empty House. As eye-rolling as that sounds, it’s true. Whether it’s Picker’s deeply personal and tragic anecdotes or the incredibly poignant arrangements, this is an album that calls for an environment of solitude, headphones and a rain-splattered window to truly immerse yourself in the music. The classical component is more than just strings as an accent in the background. Picker and his band may have composed these songs on guitar, but they’re as much the product of a conductor and an orchestra (see the two instrumental Mvt. Sketches, which sound straight out of the Naxos catalogue). To steal a title from Dave Eggers, this is a heartbreaking work of staggering genius.

Best track: “Wooden Walls Of This Forest Church”

R.I.Y.L. Bright Eyes, The Swell Season, Timber Timbre, Ray LaMontagne, Bon Iver

Rating: 9 out of 10

Buy, download, steal or don’t bother: Buy.

Sample: “Walk Around The Lake” http://www.anti.com/media/stream/811

Website: LostInTheTrees.com

“Root For Ruin”, which was set to be released September 14th, was released digitally on August 3rd due to the album leaking online in late July. As cheesed as the band was over the leak, (for proof, refer to their Twitter @lessavyfav) it has been great news for Les Savy Fav’s fans. And for a band whose success is entirely fan driven, that can’t totally be a bad thing. Since forming in Providence, Rhode Island over a dozen years ago, Les Savy Fav has managed to evade mass appeal and maintain their independence. They have accomplished something that most indie musicians strive for; staying out of the mainstream, but still selling out every show.

“Root For Ruin” was released through bassist Syd Butler’s record label Frenchkiss Records and is Les Savy Fav’s fifth studio album. Having been a band since 1995, the now Brooklyn-based five-piece, as expected, has delivered a focused and memorable album. Thank goodness, because they have quite the reputation to live up to, with a superb previous album, “Let’s Stay Friends” (2007) and being known for backing up their tracks with wildly entertaining live performances. In fact lead singer, Tim Harrington, makes the band with his borderline-extreme on stage antics. Luckily, the caliber of their new songs should make for interesting material for Harrington’s live shows. The new tracks are beyond catchy and are characteristically abrasive.

To some extent, however, it follows the Les Savy Fav mold a little too closely. Not much in the album’s 11 tracks is very surprising. Each song adheres to the same aesthetics that their very first album did. Despite the slightly recycled sound, the familiarities of the songs which are reminiscent to old hits like “Patty Lee” off “Let’s Stay Friends”, is somewhat comforting.

The highest point of the album occurs right off the bat with a strong opener, “Appetites”. Exuding sexually charged emotions and self-confidence with lyrics like, “show us your teeth and show us your tits and show us the scars from the shit that you did,” the track serves a fantastic introduction. The track “Let’s Get Out Of Here” is a close second to “Appetites”. As their first single, it is an immediate reassurance that “Root For Ruin” can compete with previous material. The energetic track “Dirty Knails” is another highlight. The album ends with yet another hit in the form of “Clear Spirits”, leaving listeners with a feeling of satisfaction.

If there’s anything that “Root For Ruin” proves, it’s that without altering themselves, Les Savy Fav have the ability to remain relevant, even throughout years of shifting trends and fads. With powerful hooks, solid melodies and an aggressive attitude, their straightforward art-punk music has the potential to become timeless. It definitely is an album to download (legally, that is). Plus, once the album was leaked, the band themselves said, “Pay extra and you’re also forgiven for sex, sins and stuff AND we’ll tell Jesus to send you cookies.” Now that’s a deal.

The Arcade Fire have been quite busy lately. First there were the secret shows, then playing a hometown festival, while the same weekend they released their latest album The Suburbs. They streamed their New York Madison Square Gardens show live on YouTube, and then played The Daily Show. And Saturday? They headed to Toronto’s Olympic Island to put on a concert.

Unlike other island shows in the past this concert started later in the day, but featured great opening acts nonetheless. Polaris Prize nominees The Sadies opened, followed by Janelle Monae, who really got the show started. Win Butler announced the OutKast powerhouse of a protege, who had the crowd on their feet from beginning to end of her set. The always-stylish Monae appeared on stage with a slick pair of oxfords on her dancing feet and was joined by two masked dancing minions who danced into the crowd and threw balloons. Janelle Monae’s funky dance pop is impossible not to move along to (see Many Moons, Tightrope, or the heart wrenching Cold War). By the end of her set, we were all warmed up and ready for some Arcade Fire!

The lights dimmed, the crowd cheered, and Arcade Fire took to the stage with Ready To Start kicking into what was an energetic, powerful set! Month Of May was filled with vigor and guts, which contrasted to the light on its toes Funeral favourite Neighborhood #2 (Laika) which followed.

From Haiti to Modern Man the set was mostly a mix of The Suburbs and Funeral, with Neon Bible’s Intervention as the only song from the album that made an appearce at Olympic Island. Even the delicate and beautiful Crown Of Love was a lovely little surprise that was snuck in, and even caused some to slow dance! Sprawl II (Mountains Beyond Mountains), a stand out Suburbs charm, was a highlight as Regines voice soared and the crowd sang along.

Neighborhood #3 (Power Out) and Rebellion (Lies) closed up the set as the audience continued to sing the choral ending ooo-ooo-ooos once the band had left the stage, calling for an encore. Arcade Fire happily agreed, and came back on to play Keep the Car Running. The night was then brought to an end with what else but Wake Up, their signature closing sing-a-long song. Everyone belted their hearts out.

If you have yet to pick up a copy of The Suburbs, what’s taking you so long?! Go give it a listen! Then go see them live! Here are their upcoming Canadian tour dates

MTS Centre Winnipeg, Thu 23rd Sept 2010
Credit Union Centre Saskatoon, Sat 25th Sept 2010
Pengrowth Saddledome Calgary, Sun 26th Sept 2010
Pacific Coliseum Vancouver, Tue 28th Sept 2010