Fixed-gear bicycles (like the Crass-themed fixed gear above) are absolutely everywhere these days, and this isn’t a surprise: every few years, the urbane population grips onto a new fad in cycling. For example, during the 1970s and 80s, road bikes were ubiquitous; a quick scan of Craigslist’s used bike section displays that most of the road bikes for sale are from that era. The 1990s brought mountain bikes to roads, and in the late 1990s, BMXes made a major comeback (due to, I’m convinced, this Bouncing Souls video). And, with the mid-2000s, fixed-gear / track bikes are set to claim set their island in the swift current of cycling trends.
Whenever a sub-culture starts gaining broader appeal, they will inevitably be flooded by an influx of media coverage. The articles that surround growing sub-cultures tend to be introductory: they focus on the most readily identifiable aspects, such as the sub-culture’s aesthetic and demographic. For the average reader, these articles serve as introductions, but for participants within that particular sub-culture, this media coverage tends to be considered shallow, crass, and misinformed (see: this article on fixed-gear bikes and this article on straight edge in Salt Lake City, Utah).
And, after several long years of toiling, I’ve finally found my opportunity to contribute to the flow of misinformation. Last Saturday, I’d gotten the chance to see Edguy – a popular German power-metal band. Though they’re seemingly a fairly popular band – playing Toronto’s Opera House – I know next to nothing regarding Edguy or power metal; in fact, despite the fact that I’ve seen a Serbian folk band perform live, I’ve never seen a single power metal performance. The combination of the relative popularity of power metal with lack of knowledge could potentially resulting in blogging gold (or coal, whichever way you look at it). Also, an Edguy concert could be a very legitimate learning opportunity - I could very well discover a new genre of music that I'll grow to adore.
See, my particular approach to acquiring knowledge (and the appreciation thereof) mirrors the teachings of Jean Piaget – a developmental theorist who argued that effective learning occurred via a structure resembling a scaffolding. In education, the role of teachers was to present their students with an information scaffolding – that is, a climbable skeletal structure. Students, as they progress with their knowledge, will fill in the empty spaces in the scaffolding and ascend to higher, more complex stages of knowledge. Really, it's quite an interesting way to learn - provided with a bare structure of knowledge, students are encouraged to discover more information themselves, via research, play, or whatever techniques best suit the student.
Whenever a sub-culture starts gaining broader appeal, they will inevitably be flooded by an influx of media coverage. The articles that surround growing sub-cultures tend to be introductory: they focus on the most readily identifiable aspects, such as the sub-culture’s aesthetic and demographic. For the average reader, these articles serve as introductions, but for participants within that particular sub-culture, this media coverage tends to be considered shallow, crass, and misinformed (see: this article on fixed-gear bikes and this article on straight edge in Salt Lake City, Utah).
And, after several long years of toiling, I’ve finally found my opportunity to contribute to the flow of misinformation. Last Saturday, I’d gotten the chance to see Edguy – a popular German power-metal band. Though they’re seemingly a fairly popular band – playing Toronto’s Opera House – I know next to nothing regarding Edguy or power metal; in fact, despite the fact that I’ve seen a Serbian folk band perform live, I’ve never seen a single power metal performance. The combination of the relative popularity of power metal with lack of knowledge could potentially resulting in blogging gold (or coal, whichever way you look at it). Also, an Edguy concert could be a very legitimate learning opportunity - I could very well discover a new genre of music that I'll grow to adore.See, my particular approach to acquiring knowledge (and the appreciation thereof) mirrors the teachings of Jean Piaget – a developmental theorist who argued that effective learning occurred via a structure resembling a scaffolding. In education, the role of teachers was to present their students with an information scaffolding – that is, a climbable skeletal structure. Students, as they progress with their knowledge, will fill in the empty spaces in the scaffolding and ascend to higher, more complex stages of knowledge. Really, it's quite an interesting way to learn - provided with a bare structure of knowledge, students are encouraged to discover more information themselves, via research, play, or whatever techniques best suit the student.
So, prior to the concert, I needed to build my power metal scaffolding.
First, I evaluated my assumptions about power metal. Based on my knowledge of pop-power band Dragonforce, power metal seemed to be an athletic form of music, combining technical wizardry with the conventions of pop music. Based on epic-rock champions Blind Guardian, I’d come to expect fantasy themes – wizards, dragons, battles, and Tolkien. Based on my rudimentary knowledge of metal in general, I’d expected a demographic that was young, white, and male, draped in an aesthetic centred around the colour black.
A quick browse of Wikipedia provided me with the following blurb:
“Power metal (Epic Metal) is today associated with an epic sound tempered by characteristics of speed metal, power metal's musical forerunner. Power metal's lyrical themes, though as varied as metal itself, typically focus on fantasy and mythology (eg. Rhapsody of Fire, Blind Guardian, Falconer), comradeship and hope (eg. Hammerfall, Lost Horizon, Highland Glory, Sabaton, Iced Earth), personal struggles and emotions (eg. X Japan, Sonata Arctica, Evergrey) war and death (eg. Manowar) or combinations of the listed themes. Many typical metal themes such as anti-religion and politics are comparatively rare but not unheard of.”
And, this was all the information regarding power metal that I needed to flesh out my scaffolding. I had to be careful about gaining too much information – how else could I maintain my misinformation?
With my scaffolding firmly in place, I set out along the Queen Streetcar, heading East towards the Opera House. I trembled with excitement.
9:45 PM: Arrival at the Opera House
Not knowing what to expect, I arrived at the Opera House prior to the opening act, Into Eternity. Using this time to collect rudimentary demographic and aesthetic information, I ventured outside into the smoking area. Surprisingly, the group outside is very diverse; there’s a fair representation of various ethnicities, an estimated 70:30 ratio of males to females (which was entirely unexpected), and, surprisingly, an age range of an estimated 30 years. There were grey, balding types and tweens. Of note, the fashion choices of showgoers was also diverse: though black was a prominent motif, I’ve also noticed pylon orange and various shades of camouflage. This might have actually been the most diverse concert-going crowd I’ve ever seen.
10:00 PM: Conversations with the Coat Check Girl
I’d decided to accumulate information from the Opera House staff; and, seeing as how the coat check folk observe the entirety of the concert-going populace, I’d decided that the lovely coat check girl would be an excellent place to start. It appears that most show-goers are here to see the headliners, and, bizarrely enough, there are a lot of people wearing Edguy shirts at the show (and not even just recently bought shirts, but shirts from other tours!). It appears that the ‘that guy’ convention – the principle that you never wear a band’s shirt at their own concert – is a convention not applicable to power metal shows. A survey of the crowd size reveals about 200 showgoers; a good-sized crowd, but nowhere close to the venue’s capacity.10:15 PM: The Openers - Ash Lee Blade
The openers, Toronto’s Ash Lee Blade, warm up the crowd; they are excellent. Though they don’t conform to my expectations of a power-metal band, these guys laid down some excellent cock-rock sleaze. They’re nowhere near as athletic or technical as I’d expected, and their subject matter is sleazy, as evidenced by songs entitled ‘Naked And Proud’ and ‘Live for Heavy Metal / Die for Rock n’ Roll.’ Their singer rocks a feathery head of strawberry-blonde hair, red tights, and a cock-piece, his Southern half vaguely resembling the shimmering crotch of Superman.10:20n PM: The Cock-Piece
I’ve come to the conclusion that possessing a cock-piece would make in infinitely easier to get out of bed in the morning. I make a mental note to purchase a cock-piece.
10:30: Ruminations with The Bartender
After a quick scan of my appearance and demeanour, I realize that I’m entirely not dressed for the show. I’m wearing a nearly-fully denim outfit and a colourful Western shirt; I’m nodding my head appeciatively, though it’s apparent that I'm not familiarized with the opener. Things are rapidly becoming awkward; I am grasping for any sort of social lubricant. I decide to start drinking.Beginning with the many drinks that I’d consume that night, I decide to chat up the bartender. Dressed in a zebra-print tank top and colourful tights, it’s immediate that she’s not dressed the part of a power-metal fan; an introductory conversation with her proves my assumption correct. Much like myself, I hope that she will be able to provide me with more misinformed perspective regarding power metal.
She informs me that power metal showgoers aren’t the biggest drinkers nor the greatest tippers. I silently wonder if she’s wishing that the Dirtbombs or CPC Gangbangs were playing instead. Anyhow, the bartender and I attempt to guess the day jobs of each member of the opening band; the drummer is a hot-shot graphic designer, the lead guitarist a kindergarten teacher, the rhythm guitarist a snack-truck operator, the bassist an executive assistant, and the singer is a 6-figure actuary.
10:40 PM: Notes on Ash Lee Blade
Following their set, a showgoer informs me that he has recently visited Ash Lee Blade's shared household. Apparently, their apartment is littered with dildos, and the band was projecting overweight-pornography onto a blank wall to entertain their visitors. This strikes me as the most authentic act a rock n' roll band can perform. I am awed.
11:00 PM: Edguy
As 11:00 reaches, the lights dim and Edguy arrives on stage. Their entrance isn’t necessarily grandiose – they do possess a mid-sized banner, but there is surprisingly a lack of a light show. The crowd is rhythmically pumping their fists and chanting the band’s name to a rhythm you’d expect of AC/DC’s TNT. Surprisingly, all band members sport enthusiastic, irrefutably genuine grins in appreciation of their crowd; the band members wear collared shirts and skinny jeans – certainly not the standard-issue metal aesthetic. Their lead singer is diminutive but energetic; their guitar player, with a high hairline and flowing hair, resembles a Klingon.11:20 PM: New songs?
The initially-churning audience has come to more of a stand-still. Edguy’s first few songs are mid-tempo, almost verging on Bon-Jovi-esque balladry. The band’s enthusiasm is still at a high, though the crowd doesn’t match it. I’m told that Edguy began their set with new songs; and, apparently, the fashion in which power metal bands sell out is that they start emulating Bon Jovi. I secretly wish that power metal bands emulated Lifehouse.
Regardless, the songs are powerful (mind the pun) and, were I more familiar with them, probably even moving. Sonically, they're packed full of positivity and glory; any hints of aggression in the songs don't seem to be directed towards anyone specific, but rather at unseen / unmentioned antagonistic forces. Hammerfall proclaims that 'they will prevail,' but prevail over what, or whom? It's my understanding that these forces are left deliberately obscured. I suspect that power metal's positivity is half of its attraction: as listeners, we are playing with the band (or for their team), and together, power metal bands will help us prevail against whatever obstacles impede us.
Power metal: I think I get it.
11:30 PM: Power Metal (for real, this time)
Edguy triumphantly announce that they will commence playing some ‘power metal.’ The crowd immediately perks up, as does the band’s the speed. The next few songs are incredibly fast – fulfilling the speed metal component of power metal – and the technicality is quickly becoming evident. There are blazing solos, and the guitarists never have problems keeping up with the rhythm section of the band. However, despite the overwhelming speed of the music, it’s quite evident that Edguy still perform pop music – most of their songs are in major scales, and Edguy’s singer has an excellent, soaring, operatic voice.
Power metal: I think I get it.
11:30 PM: Power Metal (for real, this time)
Edguy triumphantly announce that they will commence playing some ‘power metal.’ The crowd immediately perks up, as does the band’s the speed. The next few songs are incredibly fast – fulfilling the speed metal component of power metal – and the technicality is quickly becoming evident. There are blazing solos, and the guitarists never have problems keeping up with the rhythm section of the band. However, despite the overwhelming speed of the music, it’s quite evident that Edguy still perform pop music – most of their songs are in major scales, and Edguy’s singer has an excellent, soaring, operatic voice.
Edguy’s lyrical themes also don’t conform to my earlier assumption that they’d be fantasy themed – in fact, there’s a distinct lack of wizardry in their lyrics. I’d later discover, via their Wikipedia page, that Edguy lyrics ‘are often metaphorical, alluding to metaphysical or social themes: conformity, dictation by the church , and dangers of modern civilization.’
At this point, I've noticed that Ash Lee Blade and Edguy have mentioned metal several times, both in song and during in-between song banter. It occurs to me that metal might actually be the most self-aware musical genre in the universe. The performers are perfectly aware that they're performing; they're also always perfectly aware what type of music they're playing. Metal is perhaps the most post-modern musical form.
12:00 AM – The Encore
With the increased tempo of the songs, the set seems to fly by – the previous half hour feels like ten minutes. The music comes to an abrupt halt, with the band members waving to the audience as they depart the stage. There will be an encore, however, as the house lights are still shut off and Edguy’s stage crew don’t begin disassembling their equipment.
Edguy, seemingly, are not a self-aggrandizing band and don’t need convincing to come back on stage. They play three songs, ending off with ‘Avantasia,’ a mid-tempo (relatively speaking) song, and Edguy’s most popular song. And, the song is great – it’s got memorable lead melodies that are never repetitive; the solo sounds like the wind in your hair. It’s an excellent closer, and the crowd is appreciative.
12:30 AM: The End of the Voyage
At this point, I’ve drank quite a bit, but stumble next door into a sports bar to play some foosball. I’m not totally coherent, and I’m not quite sure how much I’ve filled in my learning-scaffolding, but learning is supposed to be transparent, isn't it? And, does anyone know where I can purchase a cock-piece?
At this point, I've noticed that Ash Lee Blade and Edguy have mentioned metal several times, both in song and during in-between song banter. It occurs to me that metal might actually be the most self-aware musical genre in the universe. The performers are perfectly aware that they're performing; they're also always perfectly aware what type of music they're playing. Metal is perhaps the most post-modern musical form.
12:00 AM – The Encore
With the increased tempo of the songs, the set seems to fly by – the previous half hour feels like ten minutes. The music comes to an abrupt halt, with the band members waving to the audience as they depart the stage. There will be an encore, however, as the house lights are still shut off and Edguy’s stage crew don’t begin disassembling their equipment.
Edguy, seemingly, are not a self-aggrandizing band and don’t need convincing to come back on stage. They play three songs, ending off with ‘Avantasia,’ a mid-tempo (relatively speaking) song, and Edguy’s most popular song. And, the song is great – it’s got memorable lead melodies that are never repetitive; the solo sounds like the wind in your hair. It’s an excellent closer, and the crowd is appreciative.
12:30 AM: The End of the Voyage
At this point, I’ve drank quite a bit, but stumble next door into a sports bar to play some foosball. I’m not totally coherent, and I’m not quite sure how much I’ve filled in my learning-scaffolding, but learning is supposed to be transparent, isn't it? And, does anyone know where I can purchase a cock-piece?
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