Monthly Archives: April 2015

Book Report: ‘Girl In A Band – A Memoir’ by Kim Gordon

“When we came out onstage for our last show, the night was all about the boys. Thurston double-slapped our bass guitarist Mark Ibold on the shoulder and loped across the stage, followed by Lee Ranaldo, our guitarist, and then Steve Shelley, our drummer. I found that gesture so phony, so childish, such a fantasy. Thurston has many acquaintances, but with the few male friends he had he never spoke of anything personal, and he’s never been the shoulder-slapping type. It was a gesture that called out, I’m back. I’m free. I’m solo.

I was the last one to come on, making sure to mark off some distance between Thurston and me. I was exhausted and watchful. Steve took his place behind his drum set like a dad behind a desk. The rest of us armed ourselves with our instruments like a battalion, an army that just wanted the bombardment to end. It was pouring, slanting sheets of rain.

After thirty years, tonight was Sonic Youth’s final concert. The SWU Music and Arts Festival was taking place in Itu, just outside São Paulo, Brazil, five thousand miles from our home in New England. It was a three-day-long event, broadcast on Latin American television and streamed online, too, with big corporate sponsors like Coca-Cola and Heineken. It was a strange place for things to come to an end.

Thurston and I had exchanged maybe fifteen words all week. After twenty-seven years of marriage, things had fallen apart between us. In August I’d had to ask him to move out of our house in Massachusetts, and he had. He was renting an apartment a mile away and commuting back and forth to New York.

The couple everyone believed was golden and normal and eternally intact, who gave younger musicians hope they could outlast a crazy rock-and-roll world, was now just another cliché of middle-aged relationship failure — a male midlife crisis, another woman, a double life.

They say when a marriage ends that little things you never noticed before practically make your brain split open. All week that had been true for me whenever Thurston was around. Maybe he felt the same, or maybe his head was somewhere else. I didn’t really want to know, to be honest. Offstage he was constantly texting and pacing around the rest of us like a manic, guilty kid.

Thurston mimed a mock-startled reaction as a tech passed him his guitar. At fifty-three, he was still the shaggy, skinny kid from Connecticut I first met at a downtown New York club when he was twenty-two and I was twenty-seven. He told me later he liked my flip-up sunglass shades. In his jeans, old-school Pumas, and un-tucked-in white button-down oxford, he looked like a boy frozen in some diorama, a seventeen-year-old who didn’t want to be seen in the company of his mother, or any woman for that matter. He had the Mick Jagger lips, and the lanky arms and legs he didn’t seem to know what to do with, and the wariness you see in tall men who don’t want to overpower other people with their height. His long brown hair camouflaged his face, and he seemed to like it that way.

That week, it was as if he’d wound back time, erased our nearly thirty years together. “Our life” had turned back into “my life” for him. He was an adolescent lost in fantasy again, and the rock star showboating he was doing onstage got under my skin.

The first song we played was “Brave Men Run.” It was an old, very early song from our album Bad Moon Rising. I wrote the lyrics on Eldridge Street in New York City in a tenement railroad apartment where Thurston and I were living at the time. During the song, Thurston and I didn’t look at each other once. When it was done, I turned my shoulders to the audience so no one in the audience or the band could see my face, though it had little effect. Everything I did and said was broadcast from one of the two forty-foot-high onstage video screens.

For whatever reasons — sympathy, or sadness, or the headlines and articles about Thurston’s and my breakup that followed us wherever we went that week — we had the passionate support of South American audiences. Tonight’s crowd stretched out in front of us and blurred with the dark clouds around the stadium — thousands of rain-soaked kids, wet hair, naked backs, tank tops, raised hands holding cell phones and girls on dark boys’ shoulders.

The bad weather had followed us through South America, from Lima to Uruguay to Chile and now to São Paulo — a corny movie-mirror of the strangeness between Thurston and me. The festival stages were like musical versions of awkward domestic tableaux — a living room, or a kitchen, or a dining room, where the husband and the wife pass each other in the morning and make themselves separate cups of coffee with neither one acknowledging the other, or any kind of shared history, in the room.

“Hello!” Thurston called out genially to the crowd just before the band launched into “Death Valley ’69.” Two nights earlier in Uruguay, Thurston and I had to duet together on another early song, “Cotton Crown.” Its lyrics were about love, and mystery, and chemistry, and dreaming, and staying together. It was basically an ode to New York City. I had been too upset to sing it, and Thurston had to finish by himself.

But I would make it through “Death Valley.” Lee, Thurston, and I, and then just the two of us, stood there. My about-to-be-ex husband and I faced that mass of bobbing wet Brazilians, our voices together spell-checking the old words, and for me it was a staccato soundtrack of surreal raw energy and anger and pain: Hit it. Hit it. Hit it. I don’t think I had ever felt so alone in my whole life.

The press release issued a month earlier from our record label, Matador, didn’t say much:

Musicians Kim Gordon and Thurston Moore, married in 1984, are announcing they have separated. Sonic Youth, with both Kim and Thurston involved, will proceed with its South American tour dates in November. Plans beyond that tour are uncertain. The couple has requested respect for their personal privacy and does not wish to issue further comment.

“Brave Men Run,” “Death Valley ’69,” “Sacred Trickster,” “Calming the Snake,” “Mote,” “Cross the Breeze,” “Schizophrenia,” “Drunken Butterfly,” “Starfield Road,” “Flower,” “Sugar Kane,” and closing out with “Teen Age Riot.” The São Paulo set list borrowed from when we first started out, lyrics Thurston and I had written apart or together, songs that took Sonic Youth through the eighties and the nineties, and our most recent albums.

The set list may have seemed like a best-of compilation but it was carefully thought through. During rehearsal and all that week, I remember Thurston making a point of telling the band he didn’t want to perform this or that Sonic Youth song. It eventually hit me that certain songs he wanted to leave out were about her.

We could have canceled the tour, but we’d signed a contract. Performing live is how bands make a living, and we all had families and bills to pay, and in my and Thurston’s case, college tuition for our daughter Coco to think about. At the same time, I wasn’t sure how good it looked to be playing these gigs. I didn’t want people to assume that whatever stuff had gone down between Thurston and me, I was playing a supportive, stand-by-your-man role. I wasn’t. And outside of our immediate circle no one really knew what had happened.

Before flying to South America, Sonic Youth rehearsed for a week at a studio in New York. Somehow I made it through, with the help of a Xanax, the first time I’d ever taken one during the day. Instead of staying at our apartment, which now felt tainted to me, the others agreed to put me up in a hotel.

True to band form, everyone pretended things were the same. I knew the others were too nervous about how things were between Thurston and me to interact with me much, considering they all knew the circumstances of our breakup, and even knew the woman in question. I didn’t want anyone to feel uncomfortable, and after all, I’d agreed to go along with the tour. I knew everyone had his own private judgments and sympathies, but I was surprised at how jovial everyone was acting. Maybe everyone was just too overwhelmed by the unreality.

The same went in South America. We flew separately. I flew in with the band, and Thurston traveled with Aaron, our front-of-house sound guy. On tour, after the airplane touches down, vans speed you to your hotel. People scatter, sleep, read, eat, exercise, go for a walk, watch TV, e-mail, text. That week in South America, though, everyone in the band, including the crew and the tech guys, came together for meals. A lot of the crew had worked with us for years and were like family members. Thurston sat at one end of the table, with me at the other end. It was like dining out with the folks, except Mom and Dad were ignoring each other. Everyone ordered up big platters of food and drink, and most of our conversations centered on what we were eating and drinking as a way to avoid talking about what was really going on. What was going on was the silent, unwelcome guest in the room.”


I remember being a teen and catching Sonic Youth at the Concert Hall in Toronto in the 90’s and thinking I would never see such a beautiful piece of musical art again.  I was 17, what did I know?  Not only was I enamoured with the music of Sonic Youth’s current album ‘Goo’ but I was slayed that a female bassist could kill it just as much as her male counterparts on stage.  For a 17 year old fresh out of Catholic School thought – this experience was an entry way into what I could be.

I bought into the Sonic Youth esthetic, viewing New York as a faraway place where only cool people lived, dipping into a Riot Grrrl scene and fronted Gordon’s X-girl clothing to be a part of a movement without really knowing what I was fronting.

Gordon’s voice was everything I thought it would be within her memoir.  As a teen I thought she was tough, realistic, artistic and forward thinking.  I wasn’t alone.  Carrie Brownstein, Kathleen Hanna were (and are) devoted followers.  That said I was hoping for more hootspa from ‘Girl In A Band’.  Gordon held one of the top ranks of being one of the trail blazers of the Riot Grrl movement – perhaps I was hoping for her to tell me something different now decades on as we are both older women, wiser and perhaps a more weary of life, work, family and our personal lives.

I did like the cheeky quips to some insiders throughout ‘Girl In A Band’.  It made for some awesome bed chuckling moments.

“It reached a point in São Paulo where I almost said something onstage. But I didn’t. Courtney Love happened to be touring South America at the same time. A few nights earlier, she had begun railing against a fan in the audience who was holding up a photo of Kurt Cobain. “I have to live with his shit and his ghost and his kid every day and throwing that up is stupid and rude,” she screamed. She left the stage, saying she’d return only if the audience agreed to chant, “Foo Fighters are gay.” The clip ended up on YouTube. It was typical Courtney shtick, but I would never want to be seen as the car crash she is. I didn’t want our last concert to be distasteful when Sonic Youth meant so much to so many people; I didn’t want to use the stage for any kind of personal statement, and what good would it have done anyway?”.

‘Girl in a Band’, is a wonderful read on reflection alongside ¼ members of one of the most popular post-punk bands of our time.   Snapshots with feathered edges, emotional turmoil, creative highs, musical and artistic success with dashes of grief are laid out in front of us as a formal goodbye in words that Gordon verbalizes in her most authentic voice.

“Thurston had already announced a bunch of solo shows that would start in January. He would fly to Europe and then circle back to the East Coast. Lee Ranaldo was planning on releasing his own solo album. Steve Shelley was playing nonstop with the Chicago-based band Disappears. I would be playing a few gigs with a friend and fellow musician named Bill Nace, and working on artwork for an upcoming show in Berlin, but mostly I’d be home with Coco, helping her through her senior year of high school and the college application process. In the spring, Thurston and I had put our New York apartment on Lafayette Street on the market, and it finally sold six months later. Apart from that, just as the press release said, Sonic Youth had no future plans.

The band closed with “Teen Age Riot” from our album Daydream Nation. I sang, or half sang, the first lines: “Spirit desire. Face me. Spirit desire. We will fall. Miss me. Don’t dismiss me.”’

From the book GIRL IN A BAND: A Memoir by Kim Gordon. Copyright © 2015 by Kim Gordon. Reprinted by permission of Dey Street Books, an Imprint of HarperCollins Publishers.

Text also achieved from the following article,

‘From the Forest to the Sea: Emily Carr in British Columbia’ at The Art Gallery of Ontario (April 11 to August 9, 2015)

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A boundless explorer, inquisitive experimenter and thought pioneer, Emily Carr created works of art that reflect the dramatic impact of her encounters with the indigenous cultures and the formidable landscapes of British Columbia in the first half of the 20th century. Breathing new life into Carr’s legendary fascination with the Pacific Northwest through the display of archival materials, paintings and artifacts, the Art Gallery of Ontario (AGO) presents From the Forest to the Sea: Emily Carr in British Columbia in spring 2015. A joint project and collaboration between London’s Dulwich Picture Gallery and the AGO, the exhibition runs in Toronto from April 11 to August 9, 2015.

Curated by Canadian art critic Sarah Milroy and Ian Dejardin, Sackler Director of the Dulwich Picture Gallery, From the Forest to the Sea: Emily Carr in British Columbia comes to the AGO following its debut at the Dulwich Picture Gallery, where it will be on view from Nov. 1, 2014, to March 8, 2015. Tracing a dramatic journey from darkness to light, and from winter to summer, the exhibition features nearly 100 paintings, watercolours and drawings by Carr, including rarely seen sketches, works drawn from private collections as well as the recently discovered illustrated journal Sister and I in Alaska, in which Carr documented her pivotal 1907 trip up and down the Northwest Coast. Visitors will be invited to explore with Carr as she responds to this landscape and its indigenous communities, searching for a sense of place and self in both her brooding forest scenes and the euphoric skyscapes of her late career.

“Emily Carr, one of Canada’s most beloved and esteemed artists, lived at the intersection of two cultures. This exhibition gives us the opportunity to bring those artistic traditions together and approach her work with a new, contemporary lens,” said Matthew Teitelbaum, the AGO’s director and CEO. “We have culled the best works from institutions across the country and have made no compromises. I’m delighted to collaborate on a project of this calibre with the Dulwich Picture Gallery. Like the artists of the Group of Seven, who made their 2011 London debut at Dulwich in Painting Canada, Carr is poised for discovery by the wider world and for rediscovery here at home.”

In dialogue with Carr’s paintings, the exhibition features more than 40 historic indigenous artifacts from the Pacific Northwest Coast, including masks, baskets and ceremonial objects by Haida, Kwakwaka’wakw, Nuu-chah-nulth, Salish, Tsimshian and Tinglit makers.

“Through her art-making, Emily Carr communicated her passion to root herself in a new landscape, finding her path to connection through a reckoning with native culture, which she strived to understand and to honour,” said Sarah Milroy. “Born in Canada to English parents and exposed to the indigenous cultures of the Northwest Coast through her travels and research, Carr demonstrated her attachment to both indigenous culture and European artistic and literary tradition. This exhibition explores Carr’s art and with it the paradoxes of the colonial imagination.”

The exhibition features loans from the Vancouver Art Gallery, Museum of Anthropology at UBC, the National Gallery of Canada and the Royal British Columbia Museum, as well as various Canadian private collections. A catalogue will be available in March 2015, with essays by Dejardin and Milroy as well as contributions from writers and artists Corrine Hunt, Peter Doig, Jessica Stockholder, James Hart, and Marianne Nicolson; leading Carr scholars Charles Hill, Ian Thom, Kathryn Bridge and Gerta Moray; and noted British and Canadian anthropologists Robert Storrie and Karen Duffek.


When we were kids, my sister had a t-shirt with Emily Carr’s ‘Scorned as Timber, Beloved of Sky’ imprinted onto it.  I saw it for many summers as we hung out in the back garden, coming out of the laundry and the like.  There was something about that print that was solemn, spiritual and yet full of staunch determination.

Over a decade ago I was in the Vancouver Art Gallery and bumped into this painting along with its siblings.  Thinking back I had forgotten how much emotion, isolation and depth is depicted in Emily Carr’s work.  I guarantee you will feel a deep knot begin to twist in your belly as you experience themes of spiritual fortitude, serenity and hope in small glimmers layered onto each brush stroke.

I met ‘Scorned as Timber, Beloved of Sky’ again for the second time in my life at the Art Galley of Ontario last week.  I wonder if I look older to her.

After visiting Portland, OR and Seattle, WA last year, I felt like I was again amongst the trees when perusing the ‘From the Forest to the Sea’.  One cannot help but smell the pine and the fresh ocean air coming off Carr’s pieces when wandering the beautifully curated AGO space.

The pop up experience is punctuated when you come upon the historic indigenous artifacts from the Pacific Northwest Coast. They ache of spirits bellowing tradition and deep rooted First Nation pride.

Canadian pride emanates in Carr’s ode to the totem poles and our First Nation people.  Some of her definitive work can be seen in the totem poles as they gloriously mark their territory in the rocky B.C. landscape.  Carr ensured to carve out First Nation symbolism respectfully in her work.

I enjoyed Carr’s experimental work as she mixed gasoline with paint and the lux yet lazy appearance of her final creations.  The trees in those sequences looked almost drunk in their intent.  Carr had such a wonderful way of personalizing her trees but also spiritually honouring their presence amongst humans.  Her homage to them went beyond being a tree hugger but a champion for their legacy.

The ‘From the Forest to the Sea: Emily Carr in British Columbia’ exhibition will leave you awe struck and rejuvenated.  I encourage you to visit on your lunch break and take visiting friends and family from out town to see it instead of the usual touristy Toronto spots.  It is an exhibition that will remind you of our cultural fabric whilst also giving us permission to explore those challenging terrains within our own backyards.

Full 2015 Field Trip Programming Revealed‏


As close to perfect as festivals get.” – Toronto Star
Toronto’s coolest music festival.” – Flare
It’s a family affair, and the audience and Toronto in general is a part of it.” – Exclaim!
The closest thing Toronto has to Coachella.” – Toronto Life
What is celebrated is the city’s thriving music scene and the city itself.” – Globe & Mail

We’ve already unveiled a 2015 lineup packed with surefire amazing performances from world class artists including Alabama Shakes, My Morning Jacket, The War On Drugs, Arkells, Father John Misty, De La Soul, Purity Ring and so many more. Sure, those alone are worth the price of admission, but anyone who’s attended Field Trip knows the event is an extension of the artistic community at large, with a family vibe that’s solidified it as Toronto’s essential downtown community music and arts event.

Our annual love letter to Toronto recognizes music as the great passion play, but we aim to celebrate artistry, creativity and community in many forms. Here are a few of the ways Field Trip 2015 will create a unique, lasting impression for all music lovers and families that take part. Take a look at the insane amount of fun we’re going to have below or over on our site. And get your tickets here, now.

Oh, and check out this amazing video from our friends at Indie 88 which features Sharon & Br am joining Kevin Drew and Arkells’ Max Kerman in a rendition of Sharon, Lois & Bram classic “Peanut Butter.” Yeah, that happened.


Few things are better than great food… and Toronto’s thriving culinary community will seriously shine at Field Trip 2015.

Our selection of vendors includes an amazing cross section of the city’s food pioneers, showcasing original creations that range from artisanal sausages to maple beef-bacon donuts. There will truly be something for every taste – we’ll feature select kid-focused stations and numerous vegetarian and vegan options. We’ll have some kitchen celebs in the mix too, like Anthony Rose dishing out the finest in the VIP and Zane Caplansky’s Thunderin’ Thelma rolling on site. Bottom line: if the list here (and below) doesn’t get you salivating, something is wrong.


In the warmth of early June, Historic Fort York & Garrison Common will come alive, transformed into a diverse and colourful retreat in the heart of the city thanks to installations from Heather Goodchild, Young Offenders, Golden Age Botanicals and several other emergent Toronto visual creators. Fans and families can explore the amazing green space and be immersed within Fort York like never before. We’ve also got a few surprises, it’s going to be amazing.


2015 means a bigger and better ‘Day Camp’, where we’ll present kids (who can come to the fest for free if they’re under 12) with an embarrassment of activity riches. We’re doubling down with intimate mini sets from Sharon & Bram, Girls Rock Camp as well as some other Field Trip performers, all within ear shot of our the popular bouncy castle, hula hoops, temporary tattoo stations, kids haircuts, ping pong tables and more. Day Camp is a huge element of what sets Field Trip apart… the only problem might be pulling the kids away to go and hear some music.


This is a big one! Soar high above Fort York and defy your very reality inside this mind-blowing virtual experience. We’re thrilled to be able to offer Field Trippers a custom festival experience created just for our weekend and never before presented to the Canadian public.


Step inside this hilarious new addition to Field Trip and enjoy daily performances from two of Comedy Bar’s most popular shows, Laugh Sabbath and Chuckle Co. In between be sure to take in an annual favourite, the acclaimed Analogue Gallery Sound Image exhibition, showcasing this year’s best in Canadian music photography.


It’s one of our pillars – sure we love bringing international favourites to TO, but introducing our patrons to new artists is also a huge part of our promise. As we did in 2014, we welcome four discovery artists – new additions to the lineup carefully picked and and ready to be revelations for the open-minded listener. These include Mali guitar mania of Songhoy Blues, the lofty folk of Andy Shauf, Vancouver shimmering pop quartet The Belle Game and Toronto R&B / jazz newcomers The Wayo. We’re also partnering with ManifestoRed Bull Sound Select and local all ages promoter Johnnyland to make sure the Toronto music community is represented at several levels. Prepare to find a new favourite.


We’re deeply committed to improving the Field Trip experience each year, and we’ve been listening. This year we’ll be opening up the first full Field Trip store on site (with Fort York Stage satellite), working with our artists and designers to create a hub where fans can browse an amazing selection of exclusive and premium Field Trip, A&C and performing artist merchandise as well as rare wares from close friends and collaborators throughout the grounds. There will also probably be a few artists dropping by…


Every good festival needs a change of pace and this is ours. Inside the Perrier Greenhouse you can relax and enjoy custom cocktails and a top notch collection of Field Trip-programmed DJs and selectors. Keep it green!


Join us as we welcome back Mess Hall with host Ivy Knight! Mess Hall combines the fun of Summer Camp with an interactive culinary food program. Ivy Knight, a kitchen babe, food writer and cookbook author has been mixing up amazing ways for people to play with food for years. This year’s Mess Hall activities include corn on the cob and watermelon eating contests, mixology mischief and cake decorating with celebrity pastry chef David Chow. Bring your imagination and your appetite.


Our amazing Field Guides play a huge part in creating the special vibe at Field Trip, but it’s a big (and fun) job that needs warrants new recruits each year. Interested? We’d love to hear from you – just apply here.

Busters Seacove Ensenada-Style Fish Tacos, Shrimp Tacos, Maine Style Lobster Roll, Crab Roll
Food Dudes Captain Crunch Fish tacos, Smoky Rueben Sandwich, Dirty Chili Hash, Nutella balls, Mac & Cheese Balls
Thunderin’ Thelma [Caplansky’s] Smoked Meat Sandwich, Grilled Cheese Sandwich, BBQ Brisket Sliders, Smoked Meat Poutine, Maple Beef-Bacon Donuts
Gourmet Gringos Baja Fish Tacos, Burritos, Quesadillas
Fidel Gastro Sandwiches with a variety of ingredients (Pulled Pork, Pulled Chicken, BBQ Brisket, Tempura Tilapia), Pad Thai fries
Portobello Portobello Burger, Veggie Ciabatta, Eggplant Marinara, Veggie & Tofu wraps, Kale, Quinoa and Barley salads
Summertime Lemonade Freshly squeezed lemonade
Deava’s Feed Your Soul BBQ Korean Short Ribs, Pork Belly Sandwich, Lemongrass Chicken Salad, Thai Chicken Sandwich (all farm to table)
Blue Donkey Chicken Gyros sliders, Calamari pita, souvlaki pita, lamb tacos, greek goddess (veg)
Pappas Greek Gyros, Chicken Strips, Greek Fries
Rancho Relaxo Fish Tacos, Burritos, Quesadillas, Kale & Yams, Guac and Chips
Fit To Grill Seared five spice pork belly sandwich, crispy smoked chicken wings
The Poutine Machine Fresh cut fries and poutine
Penny Lou Lou Sweets Bubble cakes with fresh fruit and ice cream
Kung Fu Dawg Hot dogs and corn dogs with all the toppings
Steel Cut Coffee Hot Espresso Beverages
Cold Station Brew Cold Brewed Coffee on tap
Ultimate Concession Fries, Poutine, Burgers, Hotdogs, Polish Sausages, Peameal on a bun, Philly cheese on a bun
Heirloom Artisanal homemade sausages (chorizo, italian) Brazed lamb shank sandwich, Duck confit sandwich
JP’s BBQ Pulled pork, Beef Brisket, ribs, Fries, Poutine, Perch Tacos
The Flying Chestnut Traditional Indian Tacos featuring Grey County Beef & Local Cheddar, Vegetarian Indian Tacos with Veggie and Bean Chili and Local Cheddar

Boreal Gelato Hand made, artisanal gelato and sorbet
Bread Heads Wood Fired Pizza- organic dough, vegan options, and child friendly options
Chimney Stax Sweet Stax, Ice Cream Stax, Garlic Cheesy Stax, Cheesy HotDog Stax

Anthony Rose Salatim Platter, Fat Pasha Hummus Platter, Shrimp Tacos, Fruit Salad, Watermelon Chunks
416 Snack Bar General Tso-Fu (vegetarian), Korean Fried Chicken, Spicy Tuna Handroll
Rodney’s Oyster House Oysters on the half shell


APOSTLE OF HUSTLE plays Folkloric Feel

KEITA JUMA & BRENDAN PHILIP presented by Manifesto and Red Bull Sound Select


* Regular Price Weekend (2 Day) passes are $120. VIP Weekend (2 Day) passes are $200.
* Regular Price Single Day passes are $70. VIP Single Day passes are $125.
* All tickets are subject to a $5.00 facility fee and vendor service charges.
* Children 12 years old and under are admitted for free with any adult ticket holder to a maximum of two children per adult.
* All Regular Price passes are available now at & as well as through Toronto independent retailers Rotate This (801 Queen W) and Soundscapes (572 College).
* VIP tickets available online only.

Toronto’s Downtown Community Music & Arts Festival
Saturday June 6 / Sunday June 7
Fort York & Garrison Common
Families Welcome! Kids Under 12 Get In Free!
Multi Stage / Rain or Shine


2015 Summer Music Festival Outfit Ideas

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Seeing as that Coachella is upon us, I thought it would be a good time to pinpoint some key festival fashion ideas. I am not planning on going to any festivals in the U.S. this year but for my Toronto jaunts I’m thinking low key, comfy, stylish but also practical.

This year, I encourage you to go against the ‘boho’ grain and try to polish up your festival looks.  😉  I know it’s tempting to channel Florence from Florence and the Machine – but come on, how many years do we need to rock the same looks?

A scarf with a cool leather jacket is a neat coupling to keep tucked away in your backpack or purse.  Let’s face it the nights get chilly and having some coverage is important.

A cool purse is an essential. I don’t like backpacks in my regular life. If you can find a neat purse that you can stuff water, sunscreen, a lipstick and some snacks into you are good to go.

For shoes I like a pair of Adidas or a floral flat.  I would encourage you to try and stay away from a sandal and bootie this year.  It’s been done ladies!  A cool sneaker would be great instead of a wellie.

I like wearing a dress or skirt when I go to festivals. They are less constricting and at the same time you can feel even more comfy lying out on the grass or again with the bathroom situation. Easy peasy.

Shorts are always welcomed if you are keen on getting your tan on. I like a high waisted short this year or better yet a naval/striped jumpsuit.

Have fun wherever you end up be it Coachella, Lollapalooza, Osheaga, Bestival, Field Trip, TURF, Riot Fest or Outsidelands. Email me with your good times and your fashion hits and misses.

P.S. All items seen in this piece can be found at