Serena Ryder

Serena Ryder is a fireplug ready to go off.  At her recent concert at the Imperial Theatre in Saint John, NB she delivered life like a gospel preacher before the rapture - no small feat in that venerable space - even getting some dancing in the aisles.

I first saw Serena in concert in Halifax at St. Matthew's Church in November of 2009 and have been extolling her abilities ever since.

Amid the apprehension of an impending storm, Holly and I sat down in the new Ta-Ke Sushi on King Street needing some respite from an unforgiving winter.

"Is she like Sarah Harmer or will she move on the stage?" dance-girl Holly inquired.

"It'll be fun," I smirked back.

Satiated with yam and avocado makimono, miso soup, and green tea, we started, after a quick stop at the studio, on the slippery incline toward the Imperial, found some over-priced chocolate for dessert and were ushered to our eighth row middle seats.

Montreal born Danielle Duval showed her fearlessness taking the stage with only a guitar and her camera as she opened the concert with some songs from her album Of the Valley and tossed in a brilliantly brave cover of Grease's "You're the One that I Want" that was featured on the soundtrack for Californication.

Ryder chose the certain-hit "What I Wouldn't Do" to open the show and showed off the stuff her newest album, Harmony, is made of.  With polished repartee and a few on-stage local guests, she charmed the audience from start to finish, disporting her abilities with various guitars and a small fortress of drums.

And then there's her most-treasured instrument - her voice.  Her self-proclaimed idols - Etta James (At Last) and Nina Simone (anything she wanted) - had nothing on Serena's modulations, despite her recent troubles with "losing" this gift.

Her performances sound so much like her recordings I found myself looking for cues that would signal to me that she wasn't pulling a Beyonce, it's that good and no, she definitely wasn't.

Serena delivers a real show - the band, lighting, technical effects all combine with her vocalizations, intrumentations and dramatic costumes to showcase the smart, tribal, sorceress she has become.

Holly and I left the sermon with renewed spirits and looked out upon King Square to find the ground we expected to be white and nasty was still mostly bare.  It was a March miracle.

Shining Star

There are a number of singers that you know you should see, but for whatever reason, don't know if you will ever receive the opportunity.  Bif Naked falls into the category for me.

Her popularity soared in the late '90s, yet somehow escaped me until a number of years later and then I found out about her being diagnosed with breast cancer and, as with all her fans, was scared.  Respectfully selfish, I subconsciously accepted the fact that I may not ever get to see her in concert.

Imagine my elation when I happened to check the website for Saint John's Imperial Theatre's upcoming events and saw that Bif was scheduled to come here!  Without any hesitation I bought tickets - third row centre (because Holly doesn't like the front row!) - and anxiously awaited concert day.

Bif Naked Supporting Saint John Animal Rescue

Her often brutally honest lyrics give insight to her personality and beliefs, but given that this show was to be acoustic, I did not know what to expect from the concert.  I didn't care.  What I did know was that someone overflowing with talent could not give a bad performance.  Her songs are normally hard and even angry sounding, which sets you up for the surprise of your life when you see her in person and discover there really is nothing hard or angry present.  Everything about her shines.  Bif's vulnerability is unsettling because you just don't expect it.

The stage consisted of two stools; one for Bif and one for Jacen Ekstrom, each with their chosen instruments - her voice and his guitar - and a small table beside Jacen.  Their chemistry is easy and fluid and a fine match.  That aforementioned vulnerability works with this onstage relationship to deliver Jacen as a sort of broken-family son to Bif - her protector even if she is calling the shots.  And it works.

I was awed by the quality and strength of her voice.   Knowing the acoustic aspect would highlight any weaknesses and having only really heard her behind the usually heavy, loud music on her albums, my preconceptions had me mistakenly believing this style would take something away from a 'normal' concert, but this was definitely not the case.  The focal point became her vocalizations and spotlighted the intended intimacy, allowing the concert goer to appreciate that this performer was showing us her therapy - ridding herself of her demons and, in the process, empowering herself right before our eyes - and instructing us to do the same.