In the Dead of Winter Celebrates Fifth Anniversary

• Musical matrimony Luke and Melissa

As I wandered down the balmy streets of Halifax this afternoon to I bumped into Tim Crabtree, mastermind behind Paper Beat Scissors, who was heading home for a bite to eat before his show later at the Bus Stop Theatre.

We stopped and chatted, noting the unusually warm winter’s day and gave each other a hug. There is something about In the Dead of Winter that feels like the Christmas season all over again, except this time it’s with people you actually care about and aren’t related to. Gift exchanges are in the form of songs, while merriment is found in afternoon mugs of coffee/tea that later turn into drained bottles of beer.

Outside of the Company House (CoHo for short), festival co-ordinator Amelia Curran took a smoke break. We tried not to marvel at the spring-like temperature too much just in case we jinxed it. Inside things started to feel sparkle while Luke Doucet and Melissa McClelland sound-checked.

Festival organizers Heather Gibson and Don Brownrigg were typing away on their laptops and everything seemed much brighter after last night’s somewhat deflated launch party. Due to illness Ani DiFranco had to cancel her show at the Rebecca Cohn last minute, leaving everyone at a loss.

But in typical Halifax fashion a group of us gathered for what bartender/videographer Krista Davis aptly coined Ani Counseling. Instead of wallowing, we raised our glass in honour of the 5th anniversary.

As the sun set this afternooon, Luke Doucet, Ken Whiteley and Charles Austin hosted a workshop —So you think you need a producer? and discussed some of the key elements of recording, the purpose of a producer and their extensive experience in the music industry.

“I’ve hired a producer for the first time in 10 years,” says Doucet, who recently produced Rose Cousins’ The Send Off, Melissa McClelland’s Victoria Day and his own solo material. “Your producer could be your neighbour, a friend, whoever. It’s someone to help oversee the project.” Doucet’s opted to give over production reigns to Sloan’s Andrew Scott for his forthcoming album.

But the performance aspect of IDOW officially began with a special serenade, as the entire bar sang happy birthday dear Company House before Dance Movie played. Bar owner MaryAnn Daye blushed a little, while someone uncorked a bottle of wine right on cue. It was perfect segway into Dance Movie.

• Gettin’ groovy with Dance Movie

Comprised of Tara Thorne (vocals and guitar), Kinley Dowling (violin) and Craig Jennex (drums), Dance Movie moved through a stunning collection of songs. The lyrically smart pop-song “Carjack My Heart,” is heartbreakingly beautiful. Thorne’s creativity seems endless (see journalist, editor and filmmaker credentials), though it is as a songwriter that seems to suit her best. Dance Movie recently recorded their debut EP with Amelia Curran. Guest appearances include Rose Cousins and David Myles. According to Thorne, “It will be released when the grass turns green again.”

As Field Assembly took the stage, I ventured across the street to The Bus Stop Theatre to gather with listeners who attentively hung onto The Wooden Sky’s every note. Their ethereal set included a sampling from their latest release If I Don’t Come Home You’ll Know I’m Gone, though it was their angelic harmonies and Fleet Foxes-esque quality that tugged on my heartstrings.

Just before Paper Beat Scissors geared up to take over, I quickly ducked out and veered off the IDOW track to catch Tegan and Sara’s show at the Metro Centre. In retrospect I should have stayed put.

• Tegan and Sara, where does the good go?

After seeing Tegan and Sara at intimate venues like Toronto’s Trinity St. Paul Church (when they first released This Buisness of Art), or for their two-night stint at Halifax’s St. Mathew’s Church (during the Pop Explosion), or at The Gordon Best Theatre in Peterborough (touring for If It Was You with The Rentals), the Metro Centre just didn’t cut it.

And it seemed I wasn’t alone. Tegan and Sara, who are infamous for their on-stage banter, barely spoke a word to one another, or to the audience for that matter. Usually they are chockfull of tales of their traumatic childhoods, stories of their mother and take a few cheap shots at one another. Not tonight.

Basically they rushed through majority of songs of their latest release, Sainthood —“Arrow,” “Directing,” “Paperback Head,” “Someday” —and played a few classics, including: “Living Room,” “Walking With A Ghost,” and “My Number,” which roused a cacophony from the under-aged crowd. Perhaps it was the daunting stadium, or the fact it was the last night of their Canadian tour, but overall their performance lacked their usual lustre.

• Quick draw, Six Shooter’s Luke Doucet

Thankfully I made it back to the Company House just in time to catch the tail end of Luke Doucet’s set. Joined by his lovely wife Melissa McClelland, the twosome’s off-stage chemistry is a force of nature on-stage. Nearly every audience member left with their jaw on the floor, uttering Luke fucking Doucet.

This article appears in Jan 28 – Feb 3, 2010.