the Vancouver Symphony Orchestra and others
At the Orpheum Theatre
in Vancouver on Tuesday
It might have been the night to kick off the two-year countdown to the 2010 Olympics, but for most of the sold-out crowd at the Vancouver Orpheum Theatre on Tuesday, it was all about the headliner with the signature voice: Feist.
The Calgary-raised indie pop singer entered to a roar of applause and finished with an extended standing ovation from the crowd of about 2,700. A sure sign of Grammy-nominated Feist's draw power were the empty seats that filled only when she appeared, 2½ hours into the nearly four-hour show.
It wasn't the first Olympic event for Feist - as a child, she performed in the 1988 Calgary Olympics with 1,000 other children at the opening ceremonies. Tongue firmly in cheek, she referred to the two years of rehearsals she endured as "a great way to spend your early carefree years," to much audience laughter.
Because it was a night devoted to the Olympics as much as the diverse musical artists on the program, it occasionally had the overly long, disjointed feel of a well-organized variety show. By the time Ontario's master of the melancholy song Ron Sexsmith made it to the stage, a big portion of the audience had cleared out for an impromptu intermission.
It also happened to be a night to celebrate the Vancouver Symphony Orchestra, which had just picked up a Grammy. The VSO was a guiding presence throughout the program, which included Sexsmith, Quebec singer and multi-instrumentalist Jorane, Dene folk singer Leela Gilday and Toronto's Suzie McNeil, best known for her big vocal performances on Rock Star: INXS.
The Cultural Olympiad 2008 event started off with the requisite promotional video and words from Vancouver Olympic Organizing Committee chief executive officer John Furlong, while Premier Gordon Campbell watched from the audience. Between performances, emcee Ben Mulroney plugged Canadian Idol and provided French translation.
Conductor and pianist Bramwell Tovey played David Foster's Can You Feel It? The tattooed McNeil belted out a song called Believe, rife with the uplifting platitudes so favoured by feel-good events.
Aboriginal music award winner Gilday reminded us of the not-so-beatific Downtown Eastside, with her song Calling All Warriors, dedicated to the women who have gone missing there.
If the universe were just, Sexsmith and Jorane would be superstars by now. The Quebec cellist and pianist has a stunning voice and eccentric songwriting style that melded perfectly with a symphony orchestra. Sexsmith gave his usual stoic delivery with heart-melting vocals, acoustic guitar in hand, and the VSO provided the rush-of-sound on songs such as Gold In Them Hills.
At around 10 p.m., Feist appeared, the new-found Canadian mainstream star. Dressed in head-to-toe white, her black hair framed around her face, she worked through a random sampling of material, including Feel It All, The Park, So Sorry, When I Was a Young Girl, Honey Honey, Sealion and, in a duet with Sexsmith, Brandy Alexander, a song they had written together. She can get the audience going with a couple of guitar notes, then begins the Feist groove - she bobs at the knees, boogies around the stage, appears to wildly enunciate even though you often can't make out the foggy words.
If the show had a stiff, corporate feel early on, Feist provided lighthearted relief. She was also full of praise, for the VSO, Sexsmith and her band, which accompanied the orchestra to thrilling effect on her hit song 1234.