“Almost every time I come to Toronto I end up @ the Shoe, and always get that warm feeling when I'm there. I travel a lot all over N.America & the world to see bands and I have to tell you it's a special place. I can always be sure that I'll get to see & hear some great new rock bands and the cutting edge in new & emerging talent.  Also they have cool bar people and staff, familiar faces who are always there welcoming me back. even thought I'm a yank, and the beer.....................

Need I say more.

I wish the Shoe another 60 years of happiness & great Rock-N-Roll!”



Ron Burman

Sr.VP A&R

Roadrunner Records






“The main intersection of the Canadian Music Business is Queen and Spadina and home base is The Legendary Horseshoe Tavern”



Jack Ross

Senior Vice President

The Agency Group






“HAPPY 60TH TO THE 'SHOE

As a fan who happens to be older (slightly) than the venerable Horseshoe Tavern, it is my pleasure and honour to welcome the grand old place to its 60's, and to thank it for making me feel young every time I visit.

I wish that were more often than it has been, but for many of those years that made us both LOOK younger, I was trying to turn the Maple Leafs into a decent television attraction, and my music fixes were applied privately. Now, I find time to see and meet Canada's best artists the way they're meant to be enjoyed-live and up close at the 'Shoe.

I was actually on stage once. It was a year ago that I introduced Jim Bryson and then Justin Rutledge to a crowded house. Kathleen Edwards and Jim Cuddy followed as guests. Four of my favourite singers and four of my favourite people were in one place at one time-it was packed; it was hot; it was loud and it was late-it was great.

On that night, and for those musical moments, there was nowhere else to be.
It'll be like that for the 60th anniversary week, too-the Sadies and Joel Plaskett and Justin again, and all the others who join in.
There, I've just spared you all the stories of the early days, but, after all, the best times at the 'Shoe are the last time and the next time.
Happy 60th to 370 Queen West and to all those who give it its heart and soul-a reason to celebrate, indeed!”



Dave Hodge

TSN






“Ah....the Horseshoe.

My first memory of the Shoe is sneaking down there sometime in middle 60’s, maybe 1964, when it was a country bar. I saw Ferlin Husky and he sang “On The Wings Of A Snow White Dove”.  That and all those women in the bar with bouffant haircuts and the fact that I was under the legal drinking age.  You just can’t do any better than that!!!

Thanks Horseshoe. You’re the best.”



Bernie Finkelstein

True North Records






“I love that the bartenders, who serve hundreds of musicians every year, still remember my name. I love that I saw Calexico there. And the Immortal Lee county Killers. And my car got towed in the back parking lot.”



Luke Doucet






“In the end I couldn't choose just one.  Having been asked to write a few words about the 'shoe I was initially riffing on a favorite show approach, but, just like those name your 10 favorite albums things, I just can't go there.  The list of great shows is too long, the memories too bountiful and indelible, to choose just one, like having to pick a favorite child out of many.



Instead let's shout out to the 'shoe as a living, organic spirit, as embodied by the people - from Kenny and X-ray, to JC, Craig, teddy and everyone who has infused the joint with their blood, sweat and tears, all in the name of rock n' roll/ska/punk/surf/blues/roots etc etc, as the ATG ad descriptors would have it.
Geez it occurs that maybe i have been taking the place for granted all these years.  I mean can you imagine life in this city without the 'shoe?  Note to self:  proper respect to a legend next time you walk in the doors”



Kim Cooke

Maple Music






“I first played at the Horseshoe in 1997 with my band Joydrop and have played there several times since, both with the band and as a solo artist. Every time I play there, I feel a rush of belonging; that I have somehow joined with the family of musicians who have graced that famous stage, from the Rolling Stones to those whose name no-one can recall. For musicians, the Horseshoe feels like home.”

Happy Birthday, Horseshoe. Rock and Roll will never die.”



Tara Slone

Host/Reporter

Sun TV






“I've recently realized that my left ear is in worse shape than my right one,
and I'm pretty sure I know the reason why: the positioning of the Horseshoe
stage all but ensures your left ear takes a greater beating than your right
one. But for that Neutral Milk Hotel show in '98 alone, I'd say it's an even
trade-off.”  



Stuart Berman

Eye Weekly






“It's never a gamble going to the 'shoe - it's always a sure thing. 

From Tyrone at the door, to Teddy and Suzy at the bar, to some of the best
bands in the world on that sweat soaked stage - it's got it all! 



It's a farm club for developing bands, it's a mecca for live music, it's
historic, it's legendary and I've been happy to call it my musical home away
from home for almost 20 years. 



Congratulations on 60...I'm looking forward to many, many more!”



Melanie Berry

President

Juno Awards/CARAS





"Growing up and playing the local club scene for many many years the Shoe
was always "the ultimate venue"  We played from the Generator (now gone)
to Teds Wrecking Yard (now gone) to the Elmo and everywhere in between
but we would always talk about how one day we'd play The Legendary
Horseshoe!  After all it was the sacred meeting grounds for bands and
industry people to meet...I remember seeing the Foo Fighters there too
The Strokes to hearing about the Hip playing and the Stones I mean shit
this place has been Knighted by rock!  So at that time...I was the guy
that booked the shows for the band so I decided to suck it up one day and
call Mr Laskey...After repeated calls...many a left demo and borderline
begging he decided to let us play there but made sure we promised to
bring at least 100 people...we called and again begged all of our friends
to come out and sure enough they did...after that we began a great
relationship with Jeff and Craig and we still to this day call and ask to
play and are excited when we get the chance!"



To 60 years and to 60 more!



Ben from Billy Talent






"The Horseshoe has been a big part of my life for about 20 years. I often consider it my third home after the place I paid my mortgage off on and whatever office I've been spending too much time in (there have been a few of those over the years).

During that time I've made great friends with JC, Craig, Leslie and others who work behind the scenes, Tyrone (who I've written reference letters for) and some of the door people (most of whom are too cool to call bouncers), Justine and Theresa at the door, and Suzie, Teddy, Bob, Scottie, Joe, Marcie, Kylah and the other bartenders and wait staff who've served me more beers than they probably should (but please don't stop). In fact, rumour has it that my taste in beer  played a very tiny role in the Shoe's move from being a Molson to a Labatt bar and in the fact that people will be enjoying free pints of Cinquante (that's 50 for you non-bilingual imbibers) at the 60th anniversary party.
I've played shortstop for the Horseshoe softball team since its inception, from the struggling early days to this past year's undefeated season (until the playoffs, that is. Damn you, Rebels.)

My name was inexplicably used in a print ad and poster to attract people to one of the sorely missed Living Elvis Karaoke nights, where I always prided myself on being Toronto's most (and worst) punk Elvis. I still have to take up Mary Margaret O'Hara on her kind, and warped, suggestion of doing a duet.
I've left the club at hours where farmers are getting up to tend to their crops. I've made out with some lovely young ladies, a few of whom I've even seen again after the night in question.

Through all that, there was also some great music. But I've kept that until the end because there's been so much that I can't possibly remember it all. I can name some favourites like The Chickens (and being attacked by a crazed woman and having to go to hospital the next day to have a damaged leg examined after she tried to wrestle the mic stand away from me during one of the band's shows), The Rheostatics, The Sadies, The Fleshtones, Andre Williams, White Cowbell Oklahoma, The Old 97s, The Bottle Rockets, Shonen Knife, The Soft Boys, Southern Culture On The Skids, The Damned, Stiff Little Fingers, The Waco Brothers, and far too many others to mention.
Since I had four shots of tequila and four pints before writing this, and I'm proudly not on Facebook so I can't proof it, please let me know (and feel free to mock me) if I made any spelling, grammar or punctuation mistakes.
I'm proud to be a Horseshoe patron and plan on being one for as many of the next 60 years as I can. Keep up the good work.”



Steve McLean

Journalist, music lover, drinker (the order is quite interchangeable)





"The Horseshoe Tavern is Canadian music's backyard rink. The rush to get there almost matches the rush you get there. Think I'll watch hockey another night..."



Ron MacLean

Hockey Night In Canada




"The Horseshoe Tavern is one of those rare venues that brings out the best performances of those who play there. The bar is legendary because the shows are legendary. You don't go to the 'Shoe to see Band X; you go because Band X is AT THE 'SHOE! Conversely, if you suck at the ‘Shoe, you suck. Period.



The Legendary Horseshoe Tavern is a national treasure. Long may you run!"



Steve Jordan

Founder

Polaris Music Prize





"My first time at the Shoe was in '95 or '96 on a Wilco tour of Canadian markets. We had been playing bars all over the world by then so to me this was just another gig. Only it wasn't.



Jeff and Craig treated us like rock stars and made sure we were comfortable in every way possible. They surrounded us with the coolest folks from Toronto (many remain friends to this day) and created a wonderful, wonderful vibe.



As fortune would have it they placed Oh Susanna on the bill to open for us (to actually open for our opener). She was new to the city and needed a break so they gave her the slot somehow. We met at that show and formed a lasting friendship that would change my life.



Years after i left Wilco, Oh Susanna called me in Mississippi to come to Toronto and play on her debut record. I walked into Peter Moore's studio that fateful day and met Bazil Donovan who took me under his wing and introduced me to Toronto. It was a friendship with a big future as the following year he nominated me to replace Blue Rodeo's departing steel guitarist.



Since moving to Toronto 8 years ago the Horseshoe has been my bar, my living room, my music room and occasionally my bedroom. Many thanks to Tyrone for getting me home when I was blinded by booze. Thanks to Suzy and Teddy for serving me with a smile and special thanks to Jeff and Craig for opening the door to Canada for me. I wouldn't be here without them."



Bob Egan

Blue Rodeo





"Jeff "J.C." Cohen is such a credit to this stupid business. It's an
hono(u)r not only to call him a colleague but also a friend. (Same
goes for Craig.)


I meet so many people in the music business who are fucking shells and
shills and have completely given up on being fans. They have lost the
passion. Not Jeff. He's the real deal.



Here is a dude who spends his time and money chasing E Street Band
dates for four days at a stretch, trying to get ito the pit with all
the other suckaz! His taste in music is impeccable, he is a generous
as a fella as I've met and he is a great buyer/booker. Honestly, I aim
to be as great of a promoter as he is.  Against The Grain is the best
company booking in Toronto.



Also, the Horseshoe is my favorite bar and venue in the whole world,
excepting maybe my own and the Mohawk Place. Some of my personally
legendary shows have been there: Wilco, Ry-Ry, V-Roys, etc. What a
great place!



Donny Kutzbach

Buffalo Promoter






"The night the Dallas Stars won the Stanley Cup, I was playing the HS with
Old 97's.  We had a tour bus parked out back with the game on.  The opening
band, our friends from Dallas, Slobberbone, finished playing and the game
hadn't ended.  We told Jeff and Craig that we'd go on as soon as the game
was over.  We are HUGE stars fans and figured the HS crowd would understand
- they are Canadian after all.
Well, the game went to OT.  Time was dragging.  The crowd grew restless.  We
were biting our nails and freaking out.  When the game went to a second OT
we promised we'd come in.  We didn't.  We couldn't tear ourselves away.
Finally when they second OT gave way to a third, and the Old 97's fans were
drunk and threatening to riot, we gave up and took the stage.
Think how happy we were when Bryan, Slobberbone's bassist, ran on-stage with
no shirt on and Dallas wins painted on his scrawny chest.
I love you, Horseshoe!"



Rhett Miller

Old 97's

http://www.eye.net/music/features/article/12130

Joel Plaskett

BY Jill Langlois   December 05, 2007 16:12

Email us at: LETTERS@EYEWEEKLY.COM or send your questions to EYEWEEKLY.COM

The Horseshoe

All of the local media articles commemorating the 60th anniversary of the Horseshoe Tavern (officially celebrating its birthday yesterday) have run off a list of the unforgettable shows that have earned the Queen West institution its adjective "Legendary" - Golden Smog, Neutral Milk Hotel, The Rolling Stones", to name a few. And while I've seen my share of great shows there over the years - hell, over the past week - the venue's own birthday party on Thursday night was one for the ages.

Though the performers were kept secret when the invite-only party was announced, it got out pretty quickly that it was going to be Chicagoan country-rock shitkickers The Waco Brothers - an outfit beloved by the Horseshoe owners - and the closest thing the 'Shoe has to a house band, Toronto's own Sadies. And, of course, where go The Sadies, special guests are sure to follow.

And follow they did. Their set could well have been released as the follow-up to their In Concert: Volume One live set as they called friends and family onstage to play with them including the Good brothers' parents, Blue Rodeo's Greg Keelor, The Skydiggers' Andy Maize and Josh Finlayson, Waco Brothers (from different mothers) Jon Langford and Tracy Dear - all of whom came as no huge surprise - and one who did: The Tragically Hip's Gord Downie. I wouldn't say I've been any sort of Hip fan for over a decade but there's no denying the band - and especially their frontman - hold a special place in Canadiana so you could feel the energy levels in the bar, already well into the red, soar when he bounded onstage.

In hindsight, it probably shouldn't have been a shock to see him - he had played with the Sadies just last month in a performance for CBC's Fuse and here they reprised some of that set, opening with "Fire In The Hole" from 1994's Day For Night and closing with an absolutely searing cover of The Stooges' "Search And Destroy" (a reasonable-quality video of which you cans see below). Maybe it's been a while since Downie's played a stage as small and intimate as this one but he absolutely tore it up. It's not often that it's the audience that needs to take a breath after a performance while the band just won't stop.

Calling The Sadies a tough act to follow is the very definition of understatement, but the Waco Brothers are no slouches in owning a stage. I was only minimally familiar with the Wacos before this night - basically I knew who they were and what they did, on paper anyways - but thankfully there's not that much to get. If you can appreciate the magic of country and old-school rock'n'roll welded together by sweat and margaritas, you can appreciate the Waco Brothers. With an all-request set list made up of originals and covers, they were the perfect band to play a birthday party for a bar with the musical pedigree that the 'Shoe has. I had to bail at 1AM but have no doubt they kept their word to keep the music and beer flowing till 2AM.

Happy 60th, Horseshoe.

WACO BROTHERS , SHANNON LEE BRIGGS and JONBOY LANGFORD & HIS BURLINGTON WELSH CHOIR at the Horseshoe Rating: NNNN

For a show by Chicago country-rock roughnecks the Waco Brothers , the crowd at the Horseshoe was unusually well dressed, even if it was part of the club's 60th anniversary celebrations.

But soon after the 30-strong Welsh male choir finished their rousing set of holiday faves, the sizable audience thinned out considerably.

By the time local country cutie Shannon Lee Briggs finished her set of Nashville-polished twang pop -- with guitar-picking sideman Moe Berg supplying high harmonies -- there was enough floor space to hold a soccer tournament.

Considering the Wacos were complicit in the previous evening's birthday debauchery, they all looked improbably sober while tearing through their set with a Clash-like focused intensity. A few songs in, the Sadies ' Dallas and Travis Good joined the action.

George Jones's White Lightning and Johnny Cash's Big River were attacked with arm-flailing abandon before Horseshoe honcho Jeff Cohen and sidekick Craig Laskey hopped onstage to shout along with the chorus of the Wacos' Do What I Say.

It was all fun and games until someone accidentally knocked over a microphone stand and the singer got cracked in the chops. Oops. The obviously smarting Jon Langford cut short Marc Bolan's 20th Century Boy in mid-riff, threw down his guitar and stormed offstage. Seconds later Langford returned, rubbing his teeth and glaring at Tracy Dear , picked up his Stratocaster and launched back into the T-Rex rave-up with a vengeance, throwing in a hunk of Pink Floyd's Lucifer Sam at the end for good measure.

http://www.nowtoronto.com/issues/2007-12-13/music_thescene.php

SIX DECADES OF THE HORSESHOE

This month's 60th Anniversary of the Legendary Horseshoe Tavern marked the success of what even New York's CBGBs failed to achieve. Our very own Shoe is an institution that has landmarked musical history countless times. Decade after decade, the Shoe and like-minded T.O. clubs have served up fine musical dining, from the Rolling Stones to the Tragically Hip and every indie buzz band in between.


                                                Shoe Staff cuts the cake | Photography By: Phil Ogynist www.philogynist.ca

On December 6th, staff, fans, industry and friends of the Shoe gathered for unlimited Labatt 50, commemorative beer steins, a star-studded cast of musicians young & not-so-young, and a subtle reminder that it isn't the corporate sponsors, or the H&M down the street, or the new café on the corner that keep Queen West from going belly under in a trend-induced culture coma.

Let's paint a picture of what went down that night, shall we?

Imagine your high-school prom but done up by someone other than the Home Ec teacher… The Shoe is swathed in red and gold with balloons smothering every inch of ceiling. The lovely Daria is on the door, greeting everyone warmly. There's a stack of commemorative 60th Anniversary beer steins for each guest to take home (I took two—not gonna lie). There's endless 50 on tap AND in the bottle (this draft = no good… always). Food trays are circling—shrimp and sushi heaven—and to top it all off, miracle of all miracles...there's a friggin' coat check.


                       "Can I get a witness?" The Hip's Gord Downie | Photography By: Phil Ogynist www.philogynist.ca

This is only the beginning. Now I know EVERYONE and their mother has seen the Sadies bring the house down, and Thursday was no exception. First up is their killer set, made even better with the Skydiggers onstage. Then Mom and Pop Good hop on stage and show us young folk that age, my friend, is a state of mind and that if I can rock out half as much or look half as good when I get older, then there is hope in this world after all!

Next up Greg Keelor of—wait for it—BLUE RODEO jumps on stage and launches straight into a Kinks cover that has the dance floor packed and writhing. The man has class and panache all wrapped in a fine-tuned package, with pitch-perfect vocals to boot. To go from dancing in the basement to Casino when I was a kid to standing at the Shoe, two feet away from an influential part of my youth, is surreal to me. Thank you, Greg.

"That night in Toronto…with its checkerboard floors…" (Musical interlude for unavoidable schmoozing.)

After a quick break for nicotine satisfaction and a quick pit stop at the bar, I'm balancing two pints and three bottles while winding my way to the front, where I've scored what will turn out to be the best seats in the house when Gord Downie of the Tragically Hip makes a surprise appearance.


                                       The Sadies and a Big Red Guitar | Photography By: Phil Ogynist www.philogynist.ca

After a blistering rendition of the Stooges' Search and Destroy, Downie settles in for a flawless set that sets the ladies screaming and the guys pumping their fists. Already this night has become legendary, and it's not over yet. The few of us pressed to the stage cannot comprehend exactly what is transpiring—but we're sure that this is definitely the night to have hauled ass and made it out, regardless of how hung over anyone was from the night before and the night before that.

Have I mentioned yet that one of the best things about the Shoe is its bar staff? If a venue plans to stick around for longer than leg warmers and teased hair it has to have more than a sound system, bathrooms, and beer on tap. It needs staff that can make you feel at home on one hand, and then, on the other, tell you ever so sweetly to fuck off if you need it… kinda like Cheers, but without the cheesy theme song and brutal décor.


                                                  Greg Keelor gets Kinky | Photography By: Phil Ogynist www.philogynist.ca

The last act to hit the stage is the Waco Brothers, a definite fave of Jeff Cohen's. (Also pseudo-Uncle of my friend Emily who insisted we dominate front and centre for the ENTIRE set.) Closing the night with humour and timeless guitar riffs is what the Wacos do best, and they nailed it again on Thursday. Thank you, boys—for pumping us up and leaving us hungry for more.

Thanks to the staff for making the Shoe what it is today. Thanks for taking all the jaded, self-centered, egotistical, money driven "industry types" and kicking some passion and respect for music back into their lives. Thanks to the fans that left any pretensions at the door and spent the night rockin' the dance floor. Thanks to Steve McLean for showing us all up in a smokin' Elvis outfit—not everyone can pull off turquoise, my friend, but you did it with class. Thank you to Craig and Jeff for letting the taps run free ALL night and for bringing us phenomenal programming day after day.


                                                The Wacos bring it home | Photography By: Phil Ogynist www.philogynist.ca

Thank you to the Legendary Horseshoe Tavern for keeping our secrets, holding us up when the beer was bringing us down and for giving us a place where we can squeeze behind rickety tables and soak up new and treasured music alike.

And most important… Thank you for one of the best hangovers I have EVER had the pleasure to endure.

Gill Z

For more info go to www.nxne.com

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From cool country to punk Rock Chaos

How a Queen West blacksmith shop became Toronto's music mecca

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The Horseshoe comes by its "legendary" status honestly.

Originally a blacksmith shop in the 1860s, the prime chunk of real estate at 368-370 Queen West became a tavern 60 years ago after local entrepreneur Jack Starr took advantage of a change in Ontario's liquor licensing laws.

By the mid-50s, the prime rib wasn't paying the bills, so Starr replaced the kitchen with a stage in the rear (where the bar now stands) and started booking local country bands and lesser known touring acts – typically younger artists on their way up or veteran acts on their way down.

With the rise of rock 'n' roll, the popularity of country and western waned. But rather than give up on country, Starr shrewdly installed transplanted Newfoundlander Dick Nolan and his Blue Valley Boys as the Horseshoe's house band in the early 60s. Thanks to Nolan's music business savvy and far-reaching connections, marquee acts like Willie Nelson, Loretta Lynn, Faron Young, Kitty Wells, Dave Dudley, Mac Wiseman, the Carter Family and Red Sovine were soon coming through.

The fortunes of country music began to change again in 1962, signalled by Ray Charles's groundbreaking crossover smash album Modern Sounds In Country And Western Music, which topped the charts for over three months. And when the resurgence of interest in all things twangy hit Hogtown, the Horseshoe became a hipster hot spot where visiting country royalty would inevitably turn up.

As Nolan's biographer, Wayne Tucker, relates, "Buck Owens was a big star by then and his fees were high, so he didn't play the Horseshoe. But one night, Buck dropped into the 'Shoe just to hear the music. He was trying to keep a low profile, so he asked Dick Nolan, who was the emcee, to keep his presence a secret. Dick knew Buck had a temper, but he ignored his request and made an announcement that Buck Owens was in the audience. Then he added, 'Would you like to hear him sing?' So an angry Buck Owens had no choice but to get onstage and do a number for free!"

It wasn't just sequin-suited Nashville stars who played the 'Shoe. Hungry young singer/songwriters from all over the country came to launch their careers at the storied showcase venue. One of the first to recognize the raw potential in a future Canadian music legend was Nolan's drinking buddy, Willie Nelson.

"Dick said that he was chatting with Willie Nelson over a beer one night when a then-unknown performer was onstage," Tucker says. "Dick noticed that Willie seemed distracted and kept looking up at the singer. Willie said, 'Dick, that guy's got something going for him. He's gonna turn out to be somebody. '"

Turns out the guy onstage was Stompin' Tom Connors, who went on to set attendance records at the 'Shoe that still stand.

During the folk era, it wasn't uncommon to see Bruce Cockburn, Ian and Sylvia and various members of the Band at the Horseshoe. As the 70s arrived, the Horseshoe began to seem more like an anachronism. By 1976, Starr realized it was time to step aside and let the next generation take over.

Gary Topp and Gary Cormier, aka the Garys, had just finished a successful run at the New Yorker on Yonge Street with a daring, unconventional booking strategy that wasn't governed by musical style, fashion or record sales. The New Yorker might have Tom Waits one night, Ali Akbar Khan the next and then Wayne County followed by Taj Mahal and Cecil Taylor. There seemed to be no rhyme or reason, but somehow it worked.

"Our policy was simple," explains Topp. "We only booked acts that we'd pay to see ourselves."

In 1978, most people outside of the UK, including the Garys, had never heard of the Police. Why they would take a chance on an unknown pop-reggae group from England without even hearing their music reveals a lot about the Garys' decision-making process.

"I got a call from Cormier one day," recalls Topp. "He said, 'I got an offer from Ian Copeland for this band called the Police. Have you heard anything about them?' I said, 'No, who are they?' So he asked Ian and called me back saying, 'It's a trio with a singer named Sting, the drummer is Stewart Copeland from Curved Air, and Andy Summers is the guitarist.' So I say, 'Hang on, is that the Andy Summers who used to play with Kevin Coyne?' Well, I really like Kevin Coyne, so I said, 'Let's book them.' That was it."

Unfortunately, only about 30 people paid the $3 cover to see the Police each night despite however many hundreds of people now claim to have been there. The truth is that poor turnouts were not uncommon for the Garys' Horseshoe gigs, and it was ultimately a money-losing venture. They were just a little too far ahead of the curve.

"It's true that there weren't many people at those Police shows, but everybody who came absolutely loved them. You could just tell that these guys were going places. They were completely unique."

Given the amazing cutting-edge punk bands they introduced to Toronto – Suicide, the Viletones, Richard Hell and the Ramones along with future stadium acts like Talking Heads and the Police, – the cultural impact of the Garys' Horseshoe stint was significant and far-reaching.

"The intensity of those Suicide shows was incredible. And Pere Ubu totally blew my mind. I knew their album, but watching David Thomas and Allen Ravenstine communicate with each other onstage, with Ravenstine using his synthesizer to shadow Thomas's moves, was unbelievable," says Topp. "That was one of the most exciting performances I ever saw at the 'Shoe. And obviously, the Last Pogo was a memorable night, too."

The Garys went out with a bang with The Last Pogo concert on December 1, 1978. Toronto's punk underground surfaced for one final bash headlined by Teenage Head and immortalized on film by then-student filmmaker Colin Brunton, who is currently working on a sequel planned for release December 1, 2008, to mark the 30th anniversary of the notorious event.

"There was always this strange tension at our Horseshoe shows," explains Cormier. "It felt as though things might explode at any second, but they never did. I can't remember any violent incidents in the club. Even at The Last Pogo show, everything was going great until the cops showed up."

"After Teenage Head played one song," recalls Topp, "I got on the mixing board microphone and said, 'The police are calling this an unruly crowd, and we have to stop the show,' and I proceeded to put on the Sex Pistols' Anarchy In The UK. The whole place just erupted. It sounded like a thousand lumberjacks simultaneously sawing their way through an old-growth forest as people went crazy bashing everything they could get their hands on.

"The next day we went in to survey the damage. There used to be a kitchen to the left of the stage, and it was filled from floor to ceiling with pieces of tables and chairs. What can I say? It was a great night."  

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The 'Shoe Staggers but keeps Rolling

The 80s and 90s saw Mick and Keith, and a new way

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The name Stagger Lee's kinda says it all. That's what the Horseshoe was called when Kenny Sprackman and his cohorts, Michael (X-Ray) Macrae and Richard Kruk, took the place over in 1983.

The Garys were gone, the old country twang was long gone, and a few prospective owners – including Marcus O'Hara and Randy Lancot – had come and gone after running the joint on a temporary basis.

The place was stumbling toward bankruptcy, and Sprackman and the gang saved it from oblivion.

"During the Stagger Lee's phase the bar was designed to be a 50s dance club," says Sprackman, looking surprisingly clean-cut. When I knew him from my band days, his hair fell to his ass and his beard came halfway down his chest. Now he's got a short bob and way tidied-up facial hair.

"You can still see signs of it – the checkered floor, the poster of Bye Bye Birdie on the ceiling, the orange walls. It was making about $5,000 a week." Which was not much even then, for those of you sans business sense.

Marcus O'Hara was one of the principals at that point, "a hugely talented man," allows Sprackman. "He was running a horseshoe tournament in the back alley – is that cool or what? – but he was not exactly a businessman."

Patrons loved Sprackman for saving the 'Shoe from killer debt – and totally appreciated the air conditioning when he installed it 20 years ago – but we working musicians loved him for liberating us from the hard-assed music monopolies.

"We decided to give the bands the proceeds from the door – in a way we helped make these bands their own independent promoters."

It was Sprackman and company who broke the stranglehold David Bluestein's agency had over club bookings. I remember that it felt like we couldn't play a club in Toronto – let alone get booked outside the city – unless we signed with Bluestein and his crowd. Sprackman took the sidestepping action that got us out from under The Agency's thumb.

Sprackman also urged record companies to show up for bands he knew were going to make waves. But when the record companies started asking for a piece of the live action, Sprackman turned them away.

He happily confesses to squeezing out the musicians union, too. "We just wouldn't allow them to collect a piece of the gate. Unions are effective when it comes to TV and touring, but when bands are playing a bar, that's different. We believed that the bar belongs to the bar and the gate belongs to the band."

Though he attributes the 'Shoe's recovery to the explosion of Canadian talent in the 80s – Blue Rodeo, the Tragically Hip, k.d. lang – and to the emerging Queen West scene in general, he knows that the most memorable Horseshoe gig was the famous "secret" Rolling Stones concert in 1997.

"It was the biggest clusterfuck ever," laughs Sprackman.

Rumours of an impending gig with the Stones, who were rehearsing for their upcoming tour at a local private girls' school, circulated for weeks before the actual September 4 date.

"The word was so strong that we couldn't get people to leave the bar after 2 pm. It was the worst-kept secret, except that the only ones who didn't know when it was going to happen were us."

Sprackman actually can't remember the show.

"Did I ever get a chance to look at the stage and listen? No. They wanted chaos – they got chaos. You had CPI [Concert Productions International] doing security – and scalping tickets at the back door. We also had Dan Aykroyd doing security, and a completely obliterated John Goodman behind the bar [both were in town shooting a Blues Brothers movie]."

And it was goodbye Bic lighters, hello cellphones. Happy Horseshoe patrons who had called up their pals held the cells high to deliver sound proof that something amazing was taking place.

Since then the club scene has changed dramatically in T.O., specifically in the area we call Clubland, just around the corner from the Horseshoe. But Sprackman never worried about Clubland eating into his market.

"The live scene is so vibrant, it's driven by people I call musoids, who'll keep an eye on who's coming up and hunt down the next big thing no matter what."

Two years ago, when he realized he was losing interest in attending shows at his own club, he sold his share to Craig Laskey and his bookkeeper, Naomi Montpetit.

"You gotta give back. I'm not greedy," Sprackman says with a smile.

His advice to aspiring club owners and bookers? Be artist-friendly, whether the talent is famous or not.

"A club is like a movie theatre," he explains. "It's only as good as whatever's on the marquee. If you own an Odeon Theatre, you want a blockbuster. If I run a bar, it's totally talent-driven. You sell popcorn, we sell beer."  

.. story ends -->.. resume -->.. // resume -->.. info Box -->.. // info Box --> .. volume/issue -->

. .. SPACER DIV FOR SPECIAL ASSOCIATED STORY MUST REMAIN EMPTY --> .. PUBLISH DATE --> .. AUTHOR 1 --> Greg Quill
.. CREDIT 1--> Entertainment Columnist
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"It used to be about the ability to play an instrux ment. `F--- that', we said. It's about expression, politics, a sense of danger, something unexpected. That was the aesthetic we inherited from (Toronto concert promoters) Gary Topp and Gary Cormier, when Craig (Laskey) and I took over (from former owners X-Ray MacRae and Ken Sprackman) in 1997-98, and we carried it through. "We got rid of (bluesmen) Jack De Keyzers and the Paul Jameses and all the others who were living off the Horseshoe's past, and started booking independent bands from the U.S. and across Canada. Audience acceptance was immediate." — Jeff Cohen, co-owner, Horseshoe Tavern

From its post-war origins as a honky-tonk hosting the likes of Willie Nelson, Waylon Jennings and Loretta Lynn, through its Canadiana years as Stompin' Tom's stomping ground in the late 1960s, to its punk glory days a decade later under renegade promoters Gary Topp and Gary Cormier, to its ascendancy as the birthplace of Canada's new rock heroes (The Tragically Hip, The Watchmen, The Bourbon Tabernacle Choir, Moxy Früvous, The Barenaked Ladies) in the '80s and '90s, and since then as a showcase for an astonishing array of diverse emerging talent from across Canada and around the world, The Horseshoe has never really lost its edge. How?

The Horseshoe's enduring allure has a lot to do with its against-the-grain history, says Cohen, a tradition he and the club's co-owner, Craig Laskey — and their promotions company, Against The Grain — cranked up a decade ago.

"In 1997 we started booking really left-of-centre stuff, we called it pink stuff ..... and (CFNY deejay) Dave Bookman opened up Nu Music Tuesday Nights as a way of developing young bands," he says. "There's no cover, and sometimes four bands a night.

"Older people hated us. We lowered the audience age from 35 to 19, the age of the musicians who played here from 30 to 21. If we were serious about building into the next 10 years, we had to make a break with the past. We booked the bands we liked over and over again Thursday through Saturday, sometimes for three sets a night. Blue Rodeo, Nickelback, Billy Talent, the Tragically Hip all got signed at the Horseshoe, or because they were spotted here.

"We're very open-minded about booking new talent. It's real easy to play at the Horseshoe. It's more difficult to stay. You have to prove yourself."

Cohen and Laskey don't take all the credit. Much of their experience was gained as bookers for former owners MacRae and Sprackman. They also relied on former Toronto concert promoter Eliott Lefko and super-agent Ralph James at the Agency Group to pitch bands that suited their mandate. They watched what worked at the Rivoli, a couple of doors away on Queen St., and tracked down contenders. Cohen and Laskey go to the SXSW new music conference in Austin, Tex., every year to buy talent.

"We spotted Ryan Adams and Whiskeytown there, and instantly thought they'd be the next big Horseshoe weekend band," Cohen says. "They played on a Tuesday night first time, then two weekend shows — now Ryan sells out Massey Hall. But he always stops by at the Horseshoe when he's in town."

Montreal-born Joey Burns, who heads up Tucson-based alt.country-folk outfit Calexico, says "It's an old bar with old furniture that looks as if it came off a sailing ship in the 1800s." But Calexico has performed there frequently in the past decade, always to packed houses.

"You walk in there and your first impression is that the place has character, age and that it's sturdy enough to withstand the hardest blows bands and audiences can deliver."

Even better, it's an inner-city gathering place for hard-core music fans who know what's good and what's phony, he adds. "It's in a well-fortified area, a part of the city where musicians and artists of all kinds hang out. It's conducive to conversation, a real North American bar that feels like an Irish pub. There's so much going on in there you don't want to leave. Sure, the Troubadour in Los Angeles is still going, but it's under siege, surrounded by the corporate fear factor. The Horseshoe is robust, lively, and really interesting ..... every night of the week."

The first time Calexico played there, it had only the recommendations of trail mates Dallas and Travis Good (The Sadies) to go by. "

But the minute we walked in I knew it was going to be interesting," Burns says. "I was surprised that so many people were so into our music. And Jeff and Craig are really creative promoters. After every show, they're busy turning bands on to new music they've discovered. They make musicians very comfortable."

For Joel Plaskett, who has played there countless times, the club's design and layout is perfect for live music.

"It just draws you in. You've got the long bar up front where people congregate, talk, drink and eat, and when it's time, you pay your cover at the far end of the room and go into the inner sanctum. It holds about 300 people, but you feel really close to the music. It's a big performance room, but intimate."

The 'Shoe is a destination point for traveling musicians, the one club whose listings every band checks when they hit town, adds Plaskett, who will be joined in his six-night run by his father, Bill Plaskett, on guitar, and Grady (former Big Sugar) frontman Gordie Johnson, among other surprise guests.

"It's the place to play if you want to leave a mark, one of the most consistently curated music rooms in the country," he adds.

"In fact, I can't think of another."

Ralph James inherited the Horseshoe as a client when he joined The Agency Group in 1991, much to the amusement of his colleagues.

"Even back then, X-Ray and Kenny refused to deal with agents. Basically their deal was that the band takes the door and they take the bar (proceeds). It seemed to me to be a brilliant opportunity."

The 'Shoe still operates that way, but it's Bookman's free Nu Music Tuesdays that have become the magnet for talent buyers and managers over the past dozen years.

"Dave very effectively pre-screens new talent from around the world for Tuesday night's shows," James says. "On any given Tuesday, you'll get a glimpse of the future of music. If you're serious about the business, you'll be there a minimum of 40 Tuesdays a year.

"The 'Shoe is magic. It's the most consistent and safe showcase for new talent in the country. It's no wonder so many bands come back after they've made it big."

Fore more go here:
http://www.thestar.com/entertainment/article/281752

1947: Jack Starr purchases the Building at 368-370 Queen Street West

In November 1947, local entrepreneur Jack Starr purchased a small piece of property at 368-370 Queen Street West. With the objective of opening up a restaurant-tavern, specializing in prime rib roast beef, with slaw, & maybe some live music on the side, he named it The Horseshoe Tavern.

The club officially opened on December 9^th, 1947.

The property itself dates back to 1861, when it opened as a blacksmith shop. In the intervening years it had been home to an actual shoe shop, and then a fancy goods store. Under new provincial liquor license laws (circa 1947), which permitted him to convert the commercial property to an eatery-tavern, Starr started serving alcohol. The Shoe's first license had a legal capacity of 87 seats.

1947-1960: Jack Starr's Country Roots n Rockabilly Music Tavern: The Willie Nelson Era

Starr's first booking was 'Marvin Rainwater', and in the early days, the media paid little attention to the live music aspect of the business. The 'Shoe had a rep as a rough place, due to the fact that legendary bank robber Edwin Alonzo Boyd was a regular patron. 

It was in the mid 50's, when Starr re-converted the bar to a larger than life 500 seat live music club, (even to the point of doing away with the food) and began booking strictly country n rockabilly music, that the venue became a cultural musical institution. Over the next 25 years, the 'Shoe hosted soon to be country superstars like Willie Nelson, Conway Twitty, Waylon Jennings, Loretta Lyn, Charlie Pride, and Ian n Sylvia Tyson

1960-1976: Promoting Canadian Talent: The Stompin Tom Era

Starr became known as the friendliest and most dedicated small club owner in Canada, often putting up artists in his own home, and revered by the likes of Willie Nelson and Stompin Tom. While looking back historically, the American country superstars made the place famous; it was really Starr's dedication to the development of national Canadian and local acts that fueled its day to day success.

In an era where artists performed full weeks (instead of one night stands), Stompin Tom not only recorded a live album at the 'Shoe, but once played 25 consecutive nights. Local artists like the Band, Bruce Cockburn, and the Good Brothers played the venue regularly.

1976-1982: Jack Starr retires; The Gary's Last Pogo, and Bankruptcy

 In 1976, Jack retired, and sold the business, (retaining ownership of the building) and with the change came a new wave of musical expression. Promoters Gary Cormier & Gary Topp came on board and introduced Toronto to Punk & New Wave bringing in the era's edgy musical sounds of the

Police, the Talking Heads, Ramones, MC-5, & the Stranglers.

Unfortunately, from the new owners standpoint, (& Jack's) the Garys vision was at least a decade ahead of their time, & when a musical change was dictated, their going-away party-dubbed 'The Last Pogo' ended an era, if not almost destroying the building and venue itself.

Featuring the likes of the The Mods, Viletones, Scenics, Cardboard Brains, and Teenage Head, the concert was raided by the police, who tried to shut down the show. A riot ensued. Much of this was captured on film by Colin Brunton, who later turned his film into a documentary.

 Unfortunately for the 'Shoe, while the Gary's went on to become Toronto's foremost indie promoters, the venue and the building remained empty. A couple of prospective owners came n went, (Marcus Ohara: Squeeze Club, Randy Lancot: Barrymore's-Ottawa) and in an attempt to revive the country music legacy, the building was divided into 3 retail spaces, with the 'Shoe changing its name, (of all things), to Stagger Lee's! It was even a strip club for a couple of months!

In 1982 Jack Starr, reluctantly, came out of retirement and imported Kingston, Ontario natives Michael (X-Ray) Macrae, Dan Akroyd, and Richard Crook, to run the venue for him, albeit on a temporary basis. It was the eventual collaboration of these 3 and Ken Sprackman, which not only saved the business, but also historically defines the modern era of what we now call the Legendary Horseshoe Tavern.

1983-1986: The Ken Sprackman n X-Ray Era; Blue Rodeo, Handsome Ned, and Prairie Oyster  

Sprackman began his business career working at his father's accounting firm. However, unlike most of his Jewish friends & contemporaries, he sought success outside the family tradition. He moved to Vancouver, B.C to open up a Mr. Sub, and then to Oshawa to open a Howard Johnson's franchise, and then back to Toronto where he opened up an automobile dealership while selling real estate on the side.

Sprackman's true calling came in 1979, when his father, working as a bankruptcy trustee, tipped him off about a failing alternative night club called the Hotel Isabella. Sprackman took the downtown Toronto club (from receivership), and within a year, the venue was a major force in the emerging Punk, Rockabilly, and New Wave Music Scenes, until it's closure in 1982.

In the spring of 1983, Sprackman drove cars to/from Florida, (seriously-lol) where by chance he landed a job to drive Jack Starr's car from Florida to Toronto. Within months, the meeting led to a partnership between Sprackman, and three others (Dan, X-Ray, n Richard) 

With Jack's guiding hand, and his family's assistance, (son in law Art Clairmen and son Bobby Starr oversaw the building for Jack) Sprackman and co sought to re-create the initial success of the Hotel Isabella/Horseshoe Tavern, by emplacing up and coming local talent but with a modern twist. To do so, Sprackman radically changed the layout of the venue. He moved the stage (from the center of the space) to the rear, splitting the space into two, and in doing so, created a local neighborhood bar. The 'shoe would now really be known as a tavern, separate from that of simply a live music venue.

With the live portion now only a quarter of its original size, Ken brought in Rick Boffo and Brock Adamson to create what many still describe as the perfect sounding small venue. Under the artistic direction of talent buyers X-Ray & Derek Andrews, the likes of Blue Rodeo, Prairie Oyster, The Bopcats, Handsome Ned, & Leslie Spit Treo developed their sound. Thus the Queen St sound was born!

Kenny and X-Ray also made radical changes to the venue booking policy and pay scale. In Jack Starr's era, artists played full weeks. (Mon-Sat) X-Ray created a new system featuring local and Canadian national touring acts on the weekend, (usually one band, Thr-Sat, 3 sets a night), mixing in monthly once a week mid-week residencies, and American-European touring acts early in the week. The venue became a preferred showcase for local promoters, CPI, & The Garys, who were almost assured that the Shoes built-in audience (accentuated by the music industry types, and celebs drinking in the newly created front bar) would accelerate an artists career development.

Prior to the 80's, local acts/musicians were paid flat union-scaled fees. It was Kenny and X-Ray whom introduced the 'band-artist takes the door-the venue the bar' policy. Perfected at the 'Shoe, it's this system which is now the standard modus-operandi of just about every original live music venue in the country.

 The success of the Sprackman-X-Ray era not only re-established the 'shoe as a legendary venue to hear live music and catch rising talent, and not only saved the business and building from bankruptcy, but more importantly they re-created the family-community, & artist-patron friendly atmosphere of which Jack Star originally set out to create. So much so that before Blue Rodeo was singed to Warner, they ran an independent label out of the basement of the Horseshoe Tavern. (Risque Disque) Kenny/X-Ray really were the KINGS of QUEEN ST.

 1987-1990: Queen St Rocks, The 'Hip, Amanda Marshall, The Phantoms & The Skydiggers

  

X-Ray took more control of the booking and with help from local agent Ralph James (the first music industry person to adopt the H-Shoe pay system as advantageous to artists) they provided a space to see new up and coming original Canadian alterna rock talent, over and above the roots music acts, such as The Tragically Hip, The Watchmen, Pursuit Of Happiness, Amanda Marshall, The Bourbon Tabernacle Choir, The Phantoms, & The Skydiggers

The 3 day weekends morphed into Fri-Sat headliners, with new emerging artists from the Maritimes and Western Canada being increasingly showcased mid-week.

Under Kenny n X-Rays direction, the tavern won countless accolades & awards but more importantly, the venue continued to be a hit with its patrons. They hired new staff, often musicians like Joe Toole (Phantoms), Teddy Fury (Bopcats), and Sean Dean (Sadies) whom made the customers feel like gold regardless if they were coming in for a just pint, a game of pool, or to see a live band…. 

1991-1995: Ultrasound, a recession, splitting ownership; The Lowest of the Low era

In the early 90's, fueled by the stability and success of the 'Shoe, the owners opened another Queen St venue, Ultrasound, and a restaurant, called X-Rays. Yvonne Matsell was hired to book the new club. However, the Toronto economy was not doing well at this time. While Ultrasound was initially successful in featuring alterna folk n roots music, the rock at the 'shoe fizzled out. Eventually X-Ray stepped aside so Matsell could book both venues for the ownership group. Yvonne re-committed the venue to the new emerging rock n folk sounds, be it Moxy Fruvous, The Bare Naked Ladies, the Waltons, Lowest of the Low, Furnace Face, One, Great Big Sea, or 13 Engines.

However, whether it was the recession, or just continuous changes in the music industry, business was flat, and more change was in the works. It was decided Richard and Dan would solely own and operate Ultrasound (with Yvonne as the booker) and Kenny and X-Ray would solely own and operate the 'shoe. (With a new talent buyer)

In the summer of 1996, the era of Jeff Cohen and Craig Laskey began, when they joined X-Ray & Kenny, with the objective of revamping the 'Shoe's artistic mandate for the 21^st Century.

1996-1997: The Jeff Cohen, Craig Laskey, & Ken Sprackman Era: Against The Grain

 Jeff Cohen grew up in the Promised Land of Montreal with child-like dreams of playing CF for Les Expos. When a summer sporting injury ended his baseball career, he turned to listening to new wave, punk rock, and Bruce Springsteen. On Jan 23rd, 1981, a chance meeting at the Montreal Forum with Canada's then most infamous Boss fan, (who also worked at then Canada's only

Campus-Community Radio Station), convinced Jeff he should attend Ottawa's Carleton University with the goal of becoming a DJ at CKCU-FM.

 Many overnighter shifts, and 3 boss tours later, he opened Canada's first dedicated all-ages venue, 'One Step Beyond', (in Ottawa) and began a career as an alterna music promoter. By the end of the 80's, he'd produced over 100 shows for the likes of No Means No, Snfu, Dead Milkmen, Circle Jerks, Ministry, and the Gruesomes, many of them benefits for CKCU-FM.

In the early 90's, with the ESB breaking up, JC moved to Toronto and became the club talent buyer (replacing Elliott Lefko and William New) for the Apocalypse Club, and later the El Mocambo. He promoted shows for the likes of the Sepultura, DRI, COC, GBH, Agnostic Front, Snuff, Headstones, BTC, James Cotton, and the Holmes Brothers, all while doing a punk rock radio show at CIUT-FM called Mods n Rockers.  

In 1993, He took a turn to the dark side, first working in the Bourbon's management office, and then becoming an agent, (replacing Jack Ross) at the 'Agency'. In assisting Ralph James, he helped him book acts (via X-Ray n Yvonne) into the H-Shoe Tavern. As an agent Jeff signed signed Big Sugar, The Mahones, and Big Rude Jake, (all eventual 'shoe weekend headliners) and was the RA for the Waltons, Lowest of the Low, One, 13 Engines, & the Rheostatics, One of his signings was a band called Bender, managed by a young lad from the Oshawa region, named Craig Laskey. JC's artists dominated the lineup of the first two 102.1 edgefest's at Ontario Place

With the SLF buy out of the Agency, Jeff went back to club talent buying, bringing Craig along as an assistant. The team become the artistic director of the Mariposa Folk Festival (in 1994), then helped re-open the Elmo in 1995, before finally joining The Horseshoe Tavern team in Aug 1995.

It was at the 'Shoe, where JC and Craig created a new business model for booking club venues in Canada.

1998-2005: The 102.1 Nu Music Night Era; Wilco, Ryan Adams, Neko Case, & the Old 97's

With the creation of 'Against the Grain Concerts' (ATG), JC and Craig did something almost unheard of in the city of Toronto, they booked their venue AND they started promoting bands outside of it. In doing so, ATG promoted every show in the 'Shoe as if it was a concert, rather than just a club-tavern play. For the first time, advance tickets were made available for shows at the venue. Similar to what Ken Sprackman did in 1983, Jeff n Craig made physical changes to the venue, raising the stage, opening up walls to create better sightlines, and building fixed seating on one side of the venue

The booking policy was also overhauled. In the past, natural talent, and the ability to play your instrument got you on the stage. Under JC-Craig, bookings were opened up to more raw punky n much younger emerging artists, similar in spirit to that of the Gary's booking policy circa 1978.

 Borrowing heavily from the new music scene unveiled yearly at the SxSW Music Festival in Austin Texas, JC and Craig, in conjunction with 102.1's Dave Bookman and then MCA-HOB Promoter Elliott Lefko, introduced an innovative artist development program to showcase emerging North American talent at the venue's No Cover Tuesday Nu Music Nites.

 They convinced agents and managers that with their baby bands, instead of charging a $5.00 to $10.00 cover, and playing to an 1/8^th filled venue during the mid-week, the 'Shoe could provide a built in and appreciative like minded audience, (via marketing at 102.1, and word of mouth) making it more worthwhile to send the act to Toronto in the early stages of their careers.  

Artists like, Matchbox 20, The Old 97's, Whiskeytown (Ryan Adams), Slobberbone, Blue Mountain, Vic Chesnutt, Goldfinger, Reel Big Fish, Sneaker Pimps, Bloodhound Gang, 7 Mary 3, Eels, Therapy, Ash, Nada Surf, Imani Coppola, Spoon, Son Volt, Kathleen Edwards, Thrush Hermit, Matt Mays, The Strokes, Big Wreck, Nickleback, and Billy Talent, all benefited greatly (if not actually signed while showcasing) from this program.

During this era the Pixies Frank Black did a 5 night stand. Neutral Milk Hotel, Bright Eyes, and Death Cab For Cutie played the venue for the first time. Thrush Hermit played their last shows at the venue morphing into The Joel Plaskett Emergency. The likes of Chixdiggit, The Smugglers, The Planet Smashers, and Danko Jones became weekend headliners. New rockabilly bands like Rev Horton Heat, Amazing Royal Crowns, The Royal Crowns, & Southern Culture came to play.

The 'Shoe became the place to be during club crawl festivals like Canadian Music Week, and North by Northeast, where local patrons and music industry folks congregate to the point where the back room is often sold-out by 9:00 pm. 

In the true historical heritage of consecutive night gigs ala Stompin Tom, the Rheostatics took over the venue for 14-16 days, once a year, over a 5-6 year span, for its Fall Nationals. 

 Yet it was Jeff Tweedy's 5 'shoe gigs (3 with Wilco, 2 with Golden Smog ) alongside with Son Volt's, Jayhawks, Neko Case & Whiskeytown/Ryan Adams concerts, which most defined the 'Shoe in this era. The ever increasing number no depression alt country shows not only re-established the country roots heritage of the venue, but the gigs themselves took on increasingly surreal historical status, ala the great talked about shows of the past by the Police, Blue Rodeo, The Hip, The Band, and Stompin Tom.

With the new emphasis on emerging sounds, surprise performances from the vets were more commonplace including The Rolling Stones, Bryan Adams, The 'Hip, Melissa Ethridge, Live, Sammy Hagar, & The Blues Brothers. As the 50^th anniversary of the venue approached, the 'shoe had clearly re-emerged as the hottest, coolest, and most stable live music venue in the city, so much so, even Blue Rodeo came back to play.

 

In 1998 X-Ray retired from the business. Jeff Cohen became an owner, with Craig Laskey taking over JC's position as the talent-buyer-booker-promoter.

 Over the last ten years, ATG has overseen/produced more than 4000 shows, and shows no sign of slowing down. Whilst committed to showcasing young n emerging acts, under it's tutledge, the 'Shoe has re-emerged as the quinssential Canadian venue for breaking development bands.

Canadian artists like The Trews, Matt Mays, The Sadies, Blackie and the Rodeo Kings, The Deadly Snakes, & The Constantines still cut their teeth in the venue, and the likes of Arcade Fire, Franz Ferdinand, The Shins, Calexico, and The Decemberists did all their early Toronto shows at the 'Shoe.

 2005-2007: We're still rocking and still booking breaking bands

In 2005, Ken Sparkman retired from the day to day operations of the venue, with Craig Laskey and Naomi Montpetit coming aboard as owners.

Jack Starr's family still owns the building. The grandsons and the grandsons in law, Gary Clairmen and Colin Mackeller oversee the space. (Jack Starr left this earth a couple of years ago) 

Craig Laskey is still booking local bands, still going to SxSW every year, and still dreaming of bringing the Waco Brothers to Toronto….

 Bookie and his 102.1 Nu Music Nights are still going strong….

 JC has managed to see 147 lifetime Bruce shows. In-otherwords, everyone is still rocking…

Just this past year, John Berry was hired to renovate the old lady, putting in an estimated $25,000 worth of checkered tile floors, sanding down and re-staining all the bars, etc…

New wood tables and chairs on on their way…New modern electro cash registers came last year…

We have a solid lease until Dec 31^st, 2011….Business is great, knock on wood