Category Archives: Pop Culture

#SundayMusic | Top 100 Albums | Gemma Hayes | 2002’s ‘Night on My Side’

Gemma Hayes has more than the night on her side.

Born in the tiny village of Ballyporeen in Ireland’s Tipperary county, Hayes leaned on music and poetry from an early age to combat the inevitable feelings of small-town isolation. While she relocated to Dublin to attend the city’s University College following her stint at boarding school, she ultimately abandoned her studies to focus squarely on her true life’s calling to write and perform songs.

Hayes soon became a turn of the century staple in the raucous Dublin music scene, and her steadfast devotion to her craft was rewarded when Source Records signed her to a recording contract in 2001.


Gemma Hayes’ EP 4:35am, released in 2001. This is the title song.

A pair of extended play releases followed before the year was over, with the fragile acoustics of 4:35am and Work To A Calm setting the stage for the arrival of her début album in her native Ireland and the UK in May of 2002.

Recorded at the famed Tarbox Road Studios in Western New York State, Night On My Side was produced by acclaimed soundsmith, Mercury Rev co-founder and Tarbox proprietor Dave Fridmann (The Flaming Lips, Luna, Sleater-Kinney), with co-production duties handled by Dave Odlum who has helmed the boards for Hayes’ last three albums.

Harnessing inspiration from the likes of My Bloody Valentine and PJ Harvey, among other influences, Hayes’ inaugural LP unfurled as a dynamic dichotomy of sounds, all underpinned by her reassuring, hypnotic vocals and heart-laid-bare introspection devoid of pretense.

With the release of 2002’s Night on My Side, Fridmann blended 4:35am’s acoustica with, well, noise, as he set about to layer Hayes’ melodic sonic texture, filling the nooks and crannies of her songs with intriguing swirls.

While a handful of standout tracks are stormers awash in multi-layered, enveloping sonic dissonance, it is their juxtaposition with the sparser, acoustic compositions that produces a gorgeous mélange of melodies, tones and flourishes that can’t help but seduce the listener’s sensibilities with each subsequent listen.


Day One, the lead-off song on Gemma Hayes’ Night on My Side

Night on My Side opens with the dreamy intro Day One that quickly enchants you with its soothing melody, but before you know it you’re given a wake up call with the first single off the album, Hanging Around. Full of juicy guitar riffs and a great chorus its a cool n’ catchy pop song.


Over and Over, from Gemma Hayes’ 2002 début LP, Night on My Side.

And so, after the first two tracks, you’re given a clear idea of what to expect for the rest of the album. There are the softly spoken acoustic guitar songs that can transfix you with their beauty, as with the gorgeously well-wrought Over and Over, the harmonizing strings just make the song for me totally. Wait until you hear them, it feels like giving your brain a sonic bath. This song maked me think of comparisons to PJ Harvey; it’s more apparent in the way she sings some of the lines.


Ran for Miles. Gemma Hayes | Night on My Side. Far and away, my favourite song on the album.

Then there’s my favourite song on the album, which kept me alive in 2002.

Ran for Miles. I don’t know how Dave Fridman did it, but he managed to make something as simple as a bass drum beat totally blow me away. It hits me every time. The song is another of the more acoustic songs from the album and it is simply outstanding. I used to run from Jericho Beach through Locarno Beach towards Spanish Banks East, full speed until I collapsed onto the grass, a testament to the fact that I was still alive — if barely, as I struggled to catch my breath — that I still existed on this planet, that my too often fragile health — both physical and mental — remained as strong and vibrant as was necessary.


Tear on My Side. Another rocker on Gemma Hayes’ Night on My Side.

There are the indie rock songs like Tear in My Side that will force your head to nod, your legs to tap and your mouth to smile. Every part of this song makes me want to sigh in that life-is-great-the-sun-is-shining kind of way. The chorus. The second verse when the male harmony comes in. The middle eight.


What A Day | Gemma Hayes | Night on My Side.

There is, of course, the exception to the rule; What A Day is guitar free. In their place are electronic beats and synthesised vocals that echo around your head.


Let A Good Thing Go | Gemma Hayes | Night on My Side.

Let A Good Thing Go, the final track on the album, arguably rocks hardest on the album, with thrashing, discordant guitars and a fevered percussion soundtracking of Hayes’ examination of romantic stagnation and the harbouring of regret. The memorable guitar riff is sure to stick in your mind for hours after hearing the song, which is exactly what a great song should do, this song a counterpoint to the more delicate acoustic songs on the album.

The album’s more subdued songs may not keep your heart racing and ears buzzing to the extent that many of the albums louder tracks do, but what they lack in frenetic energy, they more than make up for by way of their emotional resonance.

Not to mention, Hayes’ crystalline vocals and confessional lyrics are elevated to the forefront, allowing her raw vulnerability to shine through, rather than being overpowered by a dense wall of sound.

First and foremost, the Irish singer-guitarist has a gorgeous, sultry and hypnotically intoxicating voice that bridges melancholy fragility and emotional intensity in a manner that evokes comparison to Joni Mitchell and Beth Orton.

Secondly, Gemma Hayes puts it to work in the service of songs that mix a sort of strummy introspective folktronica with crunchy alt-pop songcraft.

And last but certainly not least, on her dozen-track Night On My Side début — which was released in 2002 in a slightly different, and I would say better form  in the UK (I ordered the much preferable British CD at the time, the layout of the songs more organic and listenable) from the album release in North America.

Final thought.

There’s an innocence about Night on My Side that’s like slow dancing at twilight, which most decidedly sets Night On My Side apart from all the rest.

#VIFF2024 | A Celebration of Global Cinema

The Vancouver International Film Festival (VIFF) is set to return for its 43rd edition in 2024 — September 26 thru October 6 — promising once again to bring together film enthusiasts, industry professionals, and storytellers from around the world.

Since its inception in 1981, VIFF has established itself as one of the most prestigious film festivals in North America, known for showcasing an eclectic mix of international cinema, Canadian talent, and innovative documentaries.

Held annually in one of Canada’s most cosmopolitan cities, VIFF is not just a film festival — it’s a cultural celebration that embraces global perspectives, storytelling, and cinematic innovation. With its innovative programming and commitment to discovering fresh voices, the always scintillating Vancouver International Film Festival remains a key destination for cinephiles seeking thought-provoking films.

Each year, VIFF brings a curated selection of films that have already made waves at some of the world’s most prestigious film festivals, including Sundance, Berlin, Tribeca, Telluride, Venice, and Toronto. These films arrive in Vancouver having received critical acclaim, awards, and audience recognition when they made their début earlier this year, making VIFF a key destination on the awards circuit, on the road to greater international exposure, and broader recognition, often concluding with Academy Award nominations and wins.

For the 2024 edition, several high-profile, award-winning films will make their way to Vancouver, having already garnered significant attention at earlier festivals.

Award Winning Films To Screen at VIFF 2024 | Part 3

Here are six more of the most anticipated films that will screen at VIFF 2024 (note: each highlighted film title, should you click on it, will take you to the VIFF page providing more detail on the film, allowing  you to purchase tickets for the film, too).

  • A Different Man. Silver Bear for Best Leading Performance. Berlin 2024. Aaron Schimberg, USA, 2024. By refracting Brian De Palma’s self-reflexiveness and the Coen brothers’ mordant fatalism through the prism of his most personal obsessions, Schimberg creates a house of mirrors so brilliant and complex that it becomes impossible to match any of his characters to their own reflections, and absolutely useless to reduce the movie around them to the stuff of moral instruction.

  • A Traveler’s Needs. Silver Bear Grand Jury Prize, Berlin 2024. Yeohaengjaui pilyo / 여행자의 필요. Hong Sangsoo, South Korea, 2024.  A Traveler’s Needs is just the tonic: a film that passes through you like a breath of fresh air. With an endearingly scatty, offhand performance from Isabelle Huppert that lends the proceedings a veil of comfy familiarity,  A Traveler’s Needs nonetheless finds the indefatigable Korean auteur at his most puckishly cryptic.

  • Black Dog. Un Certain Regard Prize, Cannes 2024. Gou Zhen / 狗阵. Guan Hu, China. Written by Hu and longtime collaborator Rui Ge, Black Dog embraces the same premise of countless a noir before it: a lone drifter comes home to start afresh, only to face the ghosts of his troubled past. What’s sensational about Hu’s latest is the way it undercuts that dread to land on an engrossing note that rings wholly, convincingly earned.

  • Dahomey. Golden Bear for Best Film, Berlin 2024. Mati Diop’s captivating, fabulistic documentary Dahomey confronts the reality of how modernity has been shaped by the West’s theft of cultural heritage. An invigorating, agile, cerebral, strange and enlivening film, an all at once captivating and rigorously intellectual film that will leave you with a mighty impression well beyond the film’s compact length.

  • Gloria!. Grand Jury Prize: Official Competition, Seattle 2024. With the possible exception of Tora! Tora! Tora!, any film with an exclamation point in the title should by rights be a spangly, full-scale musical. A frothy tale of warring classical music sensibilities in a Venetian girls’ refuge, Gloria! stops short of complete commitment to that rule — but it’s when it fully suspends reality for all-singing, all-stamping choral ecstasy that Margherita Vicario’s début is most exciting.

  • Holy Cow. Youth Award: Un Certain Regard, Cannes 2024. North American Première. The début feature of Louise Courvoisier, who also grew up on a farm in the Jura, Holy Cow is a small but likeable coming-of-age tale that reeks of dung, grilled sausages, sweat and diesel oil. Lovingly shot in warm natural light, and accompanied by a gentle, lilting soundtrack, Holy Cow is shot through with compassion for its rascally yet vulnerable protagonist, 18-year-old Totone (Clement Faveau), a mop-haired lad who just wants to have fun with his mates, get drunk and get laid. But then his father dies and he is left with a failing farm and a little sister to look after.

VIFF Award Winning Films | Part 1 (just click on the preceding link to access page)

VIFF Award Winning Films | Part 2 (just click on the preceding link to access page)

#BCPoli | The Impact of The Age of Grievance and Complaint Culture in 2024

The age of grievance and the culture of complaint have become defining features of contemporary political discourse in Canada and beyond.

In Frank Bruni’s The Age of Grievance, the New York Times’ Opinion columnist and Duke University professor, outlines how political figures have weaponized grievances to galvanize support, shift public sentiment, and redirect anger into votes.

This culture of dissatisfaction, cynicism, and victimhood has seeped into the Canadian political landscape, informing the strategies of major conservative figures, including Pierre Poilievre, the leader of the Conservative Party of Canada, and John Rustad, leader of the Conservative Party of British Columbia.

Understanding how this age of grievance shapes political campaigns is crucial to grasping the shifting nature of voter behaviour, particularly as it pertains to the rise of far-right or populist sentiments.

Pierre Poilievre and the Politics of Grievance

Poilievre has skillfully harnessed the culture of grievance as a key political strategy.

At the heart of Poilievre’s appeal is his ability to frame issues as part of a broader narrative where everyday Canadians have been wronged by government elites, bureaucrats, or a distant political class. By positioning himself as the voice of “common sense,” he taps into frustrations felt by many Canadians — whether it’s over affordability, housing, inflation, or perceived loss of personal freedoms.

Bruni’s The Age of Grievance highlights how figures like Poilievre manipulate these sentiments to create a sense of urgency.

Poilievre frequently paints a picture of a country under siege by wokeism, government overreach, and inflationary policies. He taps into a sense of national victimhood, where Canadian values and identity are under attack, positioning himself as the solution to restore these lost values. This isn’t merely a campaign tactic, but a broader effort to reshape Canadian political consciousness.

Bruni notes that “in a grievance-fueled culture, anger becomes the rallying cry, and solutions are often secondary to the preservation of outrage.”

This applies perfectly to Poilievre’s style.

His criticism of Prime Minister Justin Trudeau’s handling of the economy, energy policy, and pandemic restrictions follows a pattern of inflaming grievances rather than offering concrete, nuanced solutions. In doing so, Poilievre consolidates support not by offering optimism, but by fanning the flames of dissatisfaction.

British Columbia and the Politics of Complaint

In British Columbia, the age of grievance has similarly found fertile ground.

The current provincial election has become a battleground for competing narratives of grievance, with John Rustad of the BC Conservative Party emerging as a central figure exploiting this atmosphere for political gain.

British Columbia, a province often associated with progressive politics, has seen increasing polarization. The polarization between the BC New Democratic Party (NDP), which has governed for years, and rising conservative forces, such as Rustad’s BC Conservatives, reflects the influence of a growing culture of dissatisfaction. Voter frustration over affordability, housing crises, healthcare shortages, and environmental policies has coalesced into a broader sense of disillusionment with the political establishment.

Rustad’s campaign has capitalized on this sense of grievance, positioning his party as the “real alternative” to the governing NDP.

Rustad frames the government as “out-of-touch elites” who care more about woke policies, such as climate action, than about the daily struggles of British Columbians. In echoing Poilievre’s national campaign strategy, Rustad paints a picture of a province where citizens have been ignored and betrayed by the government. By presenting himself as the antidote to this betrayal, he has tapped into a well of voter dissatisfaction.

As Bruni notes, “leaders who exploit grievances do not seek resolution, but rather fuel the perception of perpetual crisis, ensuring that discontent becomes a permanent political currency.” Rustad’s campaign exemplifies this. He doesn’t offer a transformative vision for British Columbia but rather sustains a sense of crisis — over taxes, land use, or environmental regulations — that keeps grievances alive.

The Grievance Mindset and Populist Shift

The age of grievance has had a marked impact on voter behaviour, not only in British Columbia but across North America.

Many voters who feel alienated or left behind by the status quo are drawn to conservative or even far-right parties that exploit their frustrations. This is evident in how Rustad’s party, much like Poilievre’s federal campaign, attracts voters by offering simple answers to complex problems, such as opposing carbon taxes or claiming that crime and drug use are rampant due to “soft-on-crime” policies.

Bruni warns that in such a grievance-driven environment, “voters can be seduced by voices that promise a return to simpler times, even when those promises are illusory.” This has been true for British Columbia voters who, dissatisfied with the NDP’s handling of the housing crisis or healthcare system, may turn toward a party that doesn’t represent their best interests but resonates with their frustrations.

The age of grievance thus contributes to a political atmosphere where voters are more likely to make choices based on anger or cynicism rather than long-term policy benefits. This phenomenon explains why populist and even far-right movements, which exploit dissatisfaction but offer few concrete solutions, have gained traction even among voters who might otherwise support progressive policies.

David Eby and the Progressive Response

For David Eby and the British Columbia New Democratic Party, the challenge is how to counter this grievance-fueled narrative.

The key may lie in offering a vision of hope and forward-thinking solutions, rather than merely responding to grievances with defensive rhetoric. As Bruni suggests, “the antidote to grievance is not more grievance, but a reassertion of optimism and constructive action.”

Eby’s task is to convince voters that their frustrations — though real — are best addressed through thoughtful governance, rather than reactionary policies.

By focusing on housing, healthcare, and climate action, David Eby can remind voters that while grievances may persist, real solutions require sustained effort and collaboration. Moreover, Eby must highlight the dangers of grievance politics, pointing out that figures like Rustad are more interested in sustaining voter anger than in solving the province’s problems.

The age of grievance has become a dominant force in both federal and provincial politics in Canada. Conservative leaders like Pierre Poilievre and John Rustad have capitalized on this culture to galvanize support, while progressive parties like the B.C. New Democrats must find ways to navigate this political landscape without succumbing to the cynicism that defines it.

By offering solutions that go beyond complaint, leaders like David Eby can potentially counter the divisive forces that have emerged in this era of grievance-driven politics, and form government post Election Day, on Saturday, October 19th.

Sunday Music | Kacey Musgraves | 2018’s The Golden Hour Album | Top 100 of the Past 75 Years

Kacey Musgraves, born on August 21, 1988, in Golden, Texas, is one of contemporary music’s most original and respected voices, known for her ability to craft lyrics that are witty, vulnerable, and unflinchingly honest.

Musgraves’ unique blend of traditional country roots, modern sensibilities, and genre-defying experimentation has positioned her as a standout in both the country and pop music scenes.

Musgraves’ breakthrough came with her major-label début album Same Trailer, Different Park in 2013. The album featured the single Merry Go ‘Round, a melancholy portrayal of small-town life, and the cheeky, rebellious anthem Follow Your Arrow, which encouraged people to live authentically regardless of societal norms.

Her lyrics, which tackled themes of non-conformity, marijuana use, and same-sex relationships, were bold for the country genre, known for its traditional values. However, her authenticity resonated with listeners, earning comparisons to past pioneers like Willie Nelson and Dolly Parton.

Musgraves’ rise to prominence in the early 2010s established her as a sharp lyricist and a trailblazer in country music, and her 2018 album Golden Hour cemented her status as a cross-genre force, earning her critical acclaim and commercial success.

While Musgraves had already earned significant acclaim with her earlier albums, it was Golden Hour that catapulted her to a new level of fame.

Released in March 2018, Golden Hour marked a departure from her previous work, blending country with elements of pop, disco, and electronic music. The result was a dreamy, genre-blurring collection of songs that felt both fresh and timeless. Musgraves has referred to the album as her “space country” project, reflecting its expansive sound and experimental approach.

Much of Golden Hour was influenced by Musgraves’ personal life, particularly her relationship with then-husband Ruston Kelly.

The album’s themes of love, heartache, and self-discovery resonated with listeners across genres. Songs like Slow Burn and Butterflies captured the warmth of new love, while tracks like Space Cowboy and Happy & Sad explored the bittersweet and often contradictory nature of human emotions.

Kacey Musgravesthird album goes down so smoothly that it might not even scan as a total reinvention. Throughout Golden Hour, the East Texas singer-songwriter is radiant, awestruck, taking the scenic route to the bar just for the hell of it.

After Musgraves’ previous two albums, which felt like they were cut from the same home-sewn flannel cloth, in 2018 she ventured beyond the front-porch hum of country music. On Golden Hour, Musgraves employed strings, vocoders, disco beats. And if this sounds like a left turn for the lovable cynic who once characterized the world as an absurd beauty contest, a bad party, and a toxic boys’ club, well, that’s kinda the point.

Since 2015’s Pageant Material, the then 29-year-old singer-songwriter has changed her perspective.

On Golden Hour, everything sprawls and swells and gushes, a gaping sky that makes the sonic landscapes of her previous albums feel like mere set dressing. The result is Musgraves’ most accessible record and her most ambitious, a magnetic, comfortable culmination of her pop and country instincts.

The album’s production, handled by Musgraves alongside Daniel Tashian and Ian Fitchuk, was a critical element of its success.

The lush arrangements, ethereal synths, and subtle country flourishes created a sonic landscape that felt both intimate and expansive.

Golden Hour was a striking departure from mainstream country music, which at the time was dominated by bro-country and pop-country trends. Instead, Musgraves embraced a more eclectic and nuanced sound that allowed her to transcend genre boundaries.

This genre fluidity was key to Musgraves’ crossover success.

Kacey Musgraves stands out in the crowded landscape of modern music arising from her ability to remain true to herself while pushing boundaries. Her lyrics are clever, often laced with humour, but they never shy away from exploring the depths of human emotion.

In a world where many artists feel pressure to conform to commercial trends, Musgraves’ authenticity is refreshing. Her refusal to be boxed into any one genre has allowed her to build a diverse fan base, and her music continues to resonate with listeners across demographics.

As a result, she has become a symbol of creative freedom and artistic integrity in an industry that often prioritizes marketability over originality.

In Golden Hour, Kacey Musgraves created a work of art that transcended the limitations of genre, and in doing so, she solidified her place as one of the most innovative and respected artists of her generation.

Now, here’s some good news: Kacey Musgraves will play Rogers Arena in Vancouver this upcoming Thursday, September 19th, with the concert getting underway at 7:30pm. Ticket prices range from $73.80 to $247.40.