by MIRROR MUSIC STAFF

It’s easy for music journalists to become jaded as an excess of concerts start to blend one into the other. Every once in a while, though, a show goes down that reminds us of why we got into this racket in the first place, the kind of show that has you blathering like a wide-eyed teenage keener for weeks afterwards. 2002 delivered a number of such gigs. Here, the Mirror’s music writers spill a little ink on what they thought were the best concerts of the past year.

Fishbone at Café Campus, Oct. 14

If there’s nothing worse, show-wise, than seeing a lousy set from a band you know for a fact once kicked ass live, then there’s nothing better than seeing a once-great band suck right through the ’90s, only to return better than ever in the double-ohs. Unquestionably the architects of the ska-punk-funk-metal hybrid sound, Angelo Moore and co. destroyed the Rialto a dozen years ago. Don’t know what they’re sprinkling on their breakfast cereal, but you wouldn’t know they’d aged a day, judging by the furious energy they gave out at this recent Café Campus gig. Angelo’s opening with his one-man spoken-word act, Dr. Madd Vibe, was a wicked bonus. (Rupert Bottenberg)

The Breeders and Imperial Teen at Café Campus, July 26

Call it a nostalgia vote, but the Deal sisters & co. put on a hella cool show last July, more than making up for their tepid comeback album, Title TK. After an exuberant performance by Imperial Teen, the Breeders played a lengthy set of the old tunes and the new, which rang out fresh and invigorated live. Besides sounding fabulous and thrilling fans with classics like “Cannonball,” obscure B-sides and fun covers alike, these folks were completely casual and oddly hilarious on stage, cracking weird, making dirty jokes and offering a peek at Kim and Kelley’s catty relationship. (Lorraine Carpenter)

Sharon Jones & the Dap-Kings at Sala Rossa, Aug. 20

The place was packed to the gills by the time the Dap-Kings took the stage for their first Montreal performance. This band of regular-looking guys launched immediately into some hunk-a-dunk to herald the arrival of the Queen of Funk, Sharon Jones, to the stage. Decked out in matching lime-green dinner jackets, they shuffled back and forth to the beat behind this tiny woman, while she destroyed us with an energy and voice that had the audience from the moment she stepped on till the moment she stepped off. The combination of Jones and the Dap-Kings was priceless, so tight, I can’t even begin to explain. We all left danced-out and sweaty, and wondering when she would return. (Scott C)

Acid Mothers Temple at Sala Rossa, Oct. 14-15

AMT main dude Kawabata Makoto did an evening of improv with some of Montreal’s glitterati on the first night, but on the second night, he let all of his Hendrix/Hawkwind/Blue Cheer/Sun Ra freakouts take flight with Acid Mothers Temple. Despite a 20-minute delay over a broken fuzz pedal, Makoto sheared people’s head off with his sense of abandonment and intensity. The rest of the band more than held their own on these 20-minute opuses of long grooves and glorious noise. A night that rocked like rock is supposed to. (Johnson Cummins)

India.Arie at Theatre St-Denis, Dec. 6

India.Arie was like a breath of summer air on a snowy night. Backed by a full band, she performed all her signature songs (“Video,” this year’s “Little Things” and a rousing version of “Brown Skin” during the encore), but it was her homage to R&B’s past and present that showed her ability to master any song. From the legendary Bill Withers to current neo-soul diva Jill Scott, Arie at once celebrated their artistry and her own through their songs. Her tribute to Stevie Wonder, a moving version of “Love’s in Need of Love Today,” could have been the night’s theme: she gave and received much love. (Gerard Dee)

Simon Shaheen and Rabih Abou-Khalil at Place-des-arts, July 5

A pair of oud players put on a concert that was easily the highlight of the year. Shaheen opened, and his group had a feel best described as Eastern bluegrass. An unusual quintet (oud, tuba, clarinet) followed. The leader, the marvellous Rabih Abou-Khalil, informed me that he first discovered jazz when, at a bazaar in Lebanon, he purchased a pair of albums because he was intrigued by the leaders’ names - Thelonious Monk and Frank Zappa. Rabih, who says he hires on the merit of a man’s playing, not the instrument he plays, certainly reflects both the musicality and humour of those two musicians. “The Lewinsky March” was a highlight! (Len Dobbin)

VHS or Beta at Casa del Popolo, July 20

The heart of America’s bluegrass state is perhaps one of the most unlikely places you’ll expect to find the rootin’-est, tootin’-est disco dance band around. But that night, for the capacity crowd at the Casa, there was no denying it - these four southern post-post-rock boys rocked in a disco stylee (Daft Punk and Bob Sinclair wished they were this solid live). From the moment the drummer kicked off his four-on-the-floor house beat and the bassist locked into the first notes of his deep, funky groove, the crowd became a writhing mass of funky, sweaty, ants-in-their-pants bodies and never looked back. That night, armed with a guitar, bass and drums, VHS or Beta really showed Montreal how to party, hick-house style. (Raf Katigbak)

Kenny Bobien and Lady Alma Horton at Jello Bar, Nov. 7

The occasion was JoJo Flores’ annual birthday celebration at Jello Bar’s Therapy night, a weekly hoe-down marked by a broad palette of the deepest grooves. To a throng of energetic well-wishers, Lady Alma, the siren for King Britt’s Sylk 130, didn’t just warm up for Kenny Bobien - she practically charbroiled her audience with knockout renditions of vocal house anthems such as “Happiness.” Then gospel-house sensation and headliner Kenny Bobien took us to the pearly gates with his stunning repertoire of inspirational kickers like “Why We Sing,” “Father” and “I Shall Not Be Moved.” Testify, indeed. (Peter Lightburn)

Michael Franti and Spearhead, Saul Williams, K-OS and Parkside Jones at Club Soda, Mar. 30

Does anyone remember the Disposable Heroes of Hiphoprisy? Yes, that was Michael Franti in his angrier days, with a voice that defied all plausible explanation. So I’m sure you could understand my surprise to see this six-foot-plus man jumpin up ’n’ down on stage with a Cheshire-cat smile like he was on E. Parkside rocked it, and with the subtle backing of an acoustic guitarist and tabla player, K-OS sang and emceed conscious flows. Saul Williams utterly destroyed thangs, mixing beatboxing, singing and neo-metal drum & bass future-funk, and Franti and Spearhead kept a full house jumping for almost three hours with funk for days. An omniverse of party vibes, five hours long. (Lateef Martin) :

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