Bloomistry live at Kaffé 1870, Wakefield, Quebec. October 23, 2009
Audience recording. Dmitri Koev, bass; Simon Meilleur, drums; Terry Calder, guitar, b. vocal; Wayne K. Spear, guitar, vocal.
We did a bunch of shows at Kaffé 1870, a bar in the postcard-perfect, riverside village of Wakefield, Quebec, run by members of The Fiftymen. It was a great venue, and I remembered this being one of those beautiful, clear fall nights when the autumn leaves are at their peak and the air is crisp in a good way that makes you feel alive. But then I listened to the recording this week for the very first time, and in one of the songs I mention it’s raining outside! So either I was remembering the show I did a week earlier with Chris Page, or my brain is just making this all up.
The crowd that night was rowdy and ready. We were never a dance band, and I wasn’t prepared for a crowded dance floor—but when it happened, I loved it. My friend Flecton Big Sky shared the bill, joined by his band The Dreamcatchers, featuring Scott Terry on guitar and Tom Werbowetski on drums. Scott was my first drummer, and you’ll hear him heckling in good fun. As for The Dreamcatchers, I think this may have been the last time they performed together, but like my recollection of the weather I could be wrong.
We did a photo shoot with Yulia Teryaeva before this show in Mackenzie King Park and spent the day in and around the village. I don’t remember when we took the stage, but it was a long night. I went home exhausted but happy.
This recording is rough, but it gives you an idea of the night. The set list doesn’t exactly match the recording, but it wasn’t unusual for us to change things up on the fly. Or maybe I just didn’t read the set list properly. We played three songs that we didn’t often perform—What Might Have Been, The Wars, and Fountain of Light. I’ve always thought Fountain of Light was among my better songs, maybe because of how it happened. I was struggling with something in the studio, so I just took a break and went off to the side with my guitar to decompress. And in one uninterrupted go, out came this song, exactly like it is on the record. I recorded it right then and there. Creepy. That had never happened to me before, and it’s never happened to me since.