Hearts on Fire: Six Years that Changed Canadian Music 2000–2005

by Michael Barclay

An authoritative, unprecedented account of how in the early 2000s Canadian music finally became cool Hearts on Fire is about the creative explosion in Canadian music of the early 2000s, which captured the world's attention in entirely new ways. The Canadian wave didn't just sweep over one genre or one city, it stretched from coast to coast, affecting large bands and solo performers, rock bands and DJs, and it connected to international scenes by capitalizing on new technology and old-school DIY methods. Arcade Fire, Godspeed You! Black Emperor, Feist, Tegan and Sara, Alexisonfire: those were just the tip of the iceberg. This is also the story of hippie chicks, turntablists, poetic punks, absurdist pranksters, queer orchestras, obtuse wordsmiths, electronic psychedelic jazz, power-pop supergroups, sexually bold electro queens, cowboys who used to play speed metal, garage rock evangelists, classically trained solo violinists, and the hip-hop scene that preceded Drake. This is Canada like it had never sounded before. This is the Canada that soundtracked the dawn of a new century. Featuring more than 100 exclusive interviews and two decades of research, Hearts on Fire is the music book every Canadian music fan will want on their shelf.

Genres: Nonfiction, Music

603 pages, Hardcover

Published April 26, 2022

Reviews

[Maggie A · Rating 3 out of 5]

If I had to narrow in on my music taste, it would be NYC and Canadian acts from the early 2000s so I was hyped for this. I was really into some chapters and very uninterested in others. Loved the BSS/Metric/Stars chapter. Genuinely laughed out loud learning about Dan Bejar only acing his classes in existentialism and creative writing. Wolf Parade are absolutely the people getting started that I thought they were and loved the story of how their debut album got its name (but also the author said Expo 86 was better than At Mount Zoomer?? Which is false?)

There is not a chapter that doesn’t mention Arcade Fire and you know the book is going to end with their blow up. I felt everything was compared to them, even when artists didn’t cross their paths. I put this down for several weeks when I hit a lull and after the Win Butler news. Was happy that when getting to their chapter, you hear more from Tim and Richard because the band is more than just Win at the end of the day.

Some fun stories overall but I was not engaged enough on the bands I didn’t care for.

[Stephanie · Rating 4 out of 5]

Overwhelmed by the length, I went into this thinking I would just read about the bands I was really into. Turns out I was into a lot of them. Or just engaged enough to only do a little skipping ahead.

[Josee · Rating 3 out of 5]

Much like a previous Michael Barclay book I read entitled, The Never-Ending Present, the Story of Gord Downie and the Tragically Hip, this latest release about the Canadian music scene from 2000-2005 provides an incredibly detailed overview of a particular scene in a particular place from a uniquely Canadian point of view. At times reading these books I ask myself of they are too comprehensive, but I must remind myself that this is probably the most detailed history of the indie Canadian music scene that we’re likely to ever get. The author has a clear connection to the scene so we know that he is writing from a lived experience. With experience in writing for the still kicking Exclaim magazine, the CBC and being in a touring band we learn that the author has a clear connection to the scene so we that he is writing form a lived experience.

It’s stated up from that Hearts on Fire will stick to the first five years of the decades, but this is a lie. Much like the Tragically Hip book, Barclay doesn’t just write about the subject, he builds up the entire scene around it in minute detail. The book is filled with dissections of various Canadian bands from top to bottom. Some bands like The Organ and the Be Good Tanya’s get an inexplicable amount of attention when Arcade Fire only really gets the full treatment at page 555. When focusing on discussing the music industry and Canada’s place in it, the author does a great job of pinpointing the dynamics that resulted in the world focusing north of the border for once, cheap rent in Montreal, cheaper tech and government funding. I experienced a lot of the moments described in this book so it’s very cool to have bands that I grew up listening too like the Contantines, the Sadies and the more obscure hHead be mentioned or that feeling of seeing Arcade Fire in a small club in Montreal for the first time. What comes through at the end of this book is that the Canadian music is a small scene, but has consistently produced quality artists that support one another and that fans can connect to because it’s nice to hear bands we can identify with.

This is a very long book, but in the end it’s a great document to have for any Canadian music fan.

[Shane · Rating 3 out of 5]

This is a round-down from 3.5 (seriously, give us half-stars, GR!). It’s a long book, but it’s structured well enough that you can skim over parts of lesser interest, which I did for a couple chapters.
A good re-living of a great period, if at times a little repetitive where the artists’ paths cross over.

[James · Rating 4 out of 5]

This is a great book, almost academic in its scope. It’s a document of a moment in time and only loses a point reluctantly because a couple of the chapters felt slightly superfluous- but nevertheless, really loved it in general.

[Julian Dunn · Rating 4 out of 5]

One thing you can't fault Barclay for: comprehensiveness. As a longtime Canadian music journalist, he has an unparalleled depth and breadth of knowledge, and any factoid that he doesn't know, he knows where to get it -- from the artists he's covered, from those in the music ecosystem (promoters, record company executives, media personalities, other journalists) so that this book is extremely detailed. That's also it's downfall, in a way: its target audience, presumably, is the Pitchfork-reading crowd that wants to obsess over every piece of minutiae about a band's formation, sound, songwriting, interpersonal relationships, relationship with other bands, drama on the road, positive and negative press, and ultimate disposition -- did they succeed for a short period of time and flame out (Unicorns)? Were they ahead of their time and couldn't survive interpersonal infighting and terrible recording contracts (The Organ, Be Good Tanyas)? Were they eventually massively successful despite all of that (Metric, Arcade Fire, Tegan and Sara)?

Even I found the book a multi-month slog, and I was part of this scene during this period. In 2001, I was fresh out of college, and spending free time and money going to shows. I think in 2002 or 2003 I went to 90 concerts. (I remember seeing Feist, in the Monarch era, play the tiny C'est What basement, RIP. There were maybe 30-40 of us in the audience.) Tabassum Siddiqui, one of the journalists who makes an appearance in the book, is one of my longest and closest friends in Toronto. My point is that I have at least some bona fides in this period of Canadian music, and I still found it tough to get through the book. There's a lot of name-dropping, calling backwards and forwards in time to other artists and creative types; there's a lot of unnecessary detail (I joked to Tab that I really don't care what Dan Bejar had for breakfast on August 4, 2003); and there's not an insignificant amount of hipster "look how cool it was to be there at the beginning of these massive acts" attitude in the book. All of this is marginally interesting if you know and enjoy the bands that Barclay has chosen to cover, but completely boring if you don't know the band, its music, or any of the personalities involved.

Critically, this level of indulgence causes Barclay's book to kind of miss the advertised premise: an account of why Canadian music finally became cool in the 2000s. True, he opens the book with a (somewhat dry) chapter on FACTOR, the Canadian artist grant system, and the fact that public education is quite good in Canada + single-payer health care means even starving artists don't have to suffer worse than others when they get sick, but that's about it in terms of addressing structural factors for why these Canadian bands broke out. Barclay's take is that the success of these acts depended largely on their own moxie, the naivete and gumption of youth, the fact that everyone knew everyone else in the scene, and the artists' determination to succeed no matter what (see: gumption of youth). Yet these success factors are timeless: nearly every artist going back decades has come about their careers in the same way. Barclay only addresses in passing the rise of the Internet, social networking, or even societal factors that explain why these bands that were playing this kind of music were successful at this time. Audiences are depicted as faceless agents: there's little reflection on why fans were motivated to go wild at Wolf Parade, Hot Hot Heat, Unicorns, Cadence Weapon, etc. concerts.

And so on. In the end, what we have here is a 600-page treatise on how cool the Canadian indie music scene was in this period, channeled through a whole bunch of anecdotes about how this band or that band got totally wasted and trashed their hotel rooms, or talked their way into performing at this industry showcase or that festival, or drove beaten-up, barely functional vans that broke down on Highway 401 and they either missed or barely made their gigs, etc. If that's the sort of material that gets you going, then by all means, have at this book. And I'm not some old curmudgeon immune to being drawn in by some of that: it was a great time to be in your 20's in Toronto, seeing a lot of amazing music at venues that sadly no longer exist, and feeling like the city was on the cusp of something big. It was fun to relive those years in my mind's eye. But is the book accessible to a broader audience that wasn't there? Not really.

[Hugh · Rating 4 out of 5]

Michael Barclay has been writing about the Toronto music scene for a long time. His Substack, That Night in Toronto, is is one of the best show listing resources in the city. The list of people with his knowledge of the scene might have only his name on it. And if band names like The Constantines, Danko Jones, Peaches, Weakerthans, Hot Hot Heat and Stars mean anything to you, then pick this book up. Just don’t expect it to be the CanCon Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011 or Sellout: The Major-Label Feeding Frenzy That Swept Punk, Emo, and Hardcore.

Barclay is a historian above all. This book is 600 pages long with tiny type and narrow margins. Chapters are frequently 50 pages. It took me months to get through, and if I’m honest sometimes I resented it. It was worth the effort.

Each chapter works like a Carrie Mathison board – three or four artists that were household names in the Toronto scene in that era, and Barclay starts making connections. Leslie Feist lived with Peaches, who had success in France with Chilly Gonzales, who frequently played with Sarah Harmer, whose band was signed to the label started by the guy from Thrush Hermit, who was connected to Sloan, whose guitarist was dating Emily Haines. (I know those aren’t correct, but you get the point.)

Even if all those names mean something to you, the book can be as overwhelming as it is rewarding. We learn street addresses, names of bars and managers and A&R reps and label bosses. We learn about the early lives of the musicians, where they went to high school (and with whom), what their parents did for work.

It’s a lot.

But if, you lived and died for that scene, it’s an incredible nostalgia trip. Barclay is clearly a huge fan of the music, and his knowledge is encyclopedic.

What he does well is group artists in ways to make each chapter feel like a coherent story, and highlight the cultural and musical overlaps between artists in ways I didn’t know about or expect (Feist and Peaches for example).

What’s lacking is a thesis. While it’s fun to see how the (tiny) scene was connected in the era, and revisit the music and venues that I spent (and spend) a lot of time at, he doesn’t have a unifying idea other than “that was awesome, eh?” (and in fairness, it was awesome). It pulls at some threads — the outsize influence of certain Canadian acts, the sloppiness of the various financial supports, the challenge of touring across a country this wide and empty, the prudishness that drove artists like Danko Jones and Peaches to Europe, the mismatch of popularity and income in the era of Napster — but it doesn’t ever really add up to something.

I was discussing with someone that this could have been a great series of books – maybe 3 books that pick a theme and build stories around it, but that would likely would be a non-starter in Canadian publishing. A documentary would be great, but I don’t imagine much footage exists from that era (I was there, and there weren’t a lot of Handicams around). We agreed this book probably best approached slowly, like an archive of magazine deep dives rather than a single narrative. Take lots of breaks, read the chapters in the order they appeal to you.

I didn’t always love reading this book, but I love having read it.

[Paul Sutter]

Whew. This is definitely a book you can get lost in for hours. And that is because the book is a massive volume that even the fastest of readers is not going to easily devour in a day or two. This is a book that is filled with so much information and facts, that you are going to savor it like a bottle of fine wine.
It notes on the back of the book, that HEARTS ON FIRE has two decades of research, and over 100 interviews with those who were part of the music scene. It is also presented as a sort of sequel to HAVE NOT BEEN THE SAME: THE CANROCK RENAISSANCE 1985-95, that Barclay co-authored with Jason Schneider and Ian Jack. But this one he tackled alone, and is testimony to one man’s dedication to showcasing a pivotal time in Canadian music history.
While many of the baby boomers realize that such acts as Guess Who, Anne Murray, Joni Mitchell, Bachman Turner Overdrive and others, at one time defined Canadian music, it was the dawn of the 21st century that saw a sort of shift of power music wise.
Barclay concentrates on such bands as Arcade Fire, Feist, Tegan and Sara, and Alexisonfire, among others, as the new wave of singers that were not only taking Canada by storm but also receiving attention and airplay Internationally.
Arcade Fire was the biggest of the group, even beating out some of the biggest and best known artists in the world at the Grammy Awards in 2011. Michael Barclay does not give them a full chapter until page 555 in this book, but he does mention them often, and that changed the playing field for music.
Within the pages of this amazingly in-depth book, are not only the above mentioned acts, but tons of Indie bands that paid their due and did not receive the mass recognition of Canadian fans and beyond the borders. There were many bands that fought for publicity, even getting into personal feuds that almost threatened to cause battle royals outside clubs.
The author does his utmost to profile other bands and singers like Joel Plaskett, Broken Social Scene, Metric, Sadies and others. They too were bands that did make a sort of quantum leap from the Canadian scene, some receiving exposure outside our border, and making a statement that Canada is about music as much as Tim Horton’s and snow.
HEARTS ON FIRE is definitely on fire, and any music fan who grew up with this music, will find it totally captivating and noteworthy.

[J Earl · Rating 4 out of 5]

Hearts on Fire: Six Years That Changed Canadian Music 2000-2005, by Michael Barclay, is a book rich in details of this pivotal and entertaining period in Canadian music.

I have to admit up front that I found Barclay's voice and writing style less than appealing. If it had been just a little less him and more the music and artists themselves I would likely have rated it higher. Yet even with that, for me, drawback it is still an above average book for any music lover. And no doubt when a writer's voice irritates a reader this much it is about the dynamic rather than any objective element of the writing. In other words, some will find his voice to be what makes the book even better.

Voice and author aside, the information in here is insightful and will help any fan appreciate these acts even more. For any listeners who ignore borders when finding music to appreciate the musicians highlighted here will be familiar to some degree, as well as many of the other artists mentioned in placing this period in context. After reading this you will wonder why you (if you're outside Canada) haven't made a bigger effort to explore the musical landscape rather than just accept what is filtered through to the general listener. Even as someone who knows a little about the music scenes because of friends and relatives I was surprised by just how much I didn't know.

One great thing about this time in history is that, thanks to the internet, it is easier to look up many of the artists and songs mentioned here. And it is well worth your time if you are hearing about new music in these pages. I spent quite a bit of time going down various virtual rabbit holes that started with a couple of searches from this book. Time well spent.

Recommended for any fan of contemporary music, especially Canadian music. I also think any reader who enjoys reading about musical communities will enjoy this book as well. Any community around shared interests is a fascinating thing to read about.

Reviewed from a copy made available by the publisher via NetGalley.

[Delia · Rating 5 out of 5]

I've always listened to Canadian music, since I was a child, raised on rock & roll by a mother for whom anything Canadian was inherently better. In 2000 I had a computer, I discovered the early incarnations of CBC Radio3 and I was hooked. I bought an early mp3 player onto which I could download episodes of Radio3 to play & replay. I went to a Joel Plaskett concert in 2007 with my daughter. When others said, "Oh, you introduced your mum to the music?" She proudly replied, "Nope, she introduced me."
Thank you for this book. I listened to all the bands as I read. I rediscovered old favourites & found new ones. Now to go back and read 'Have Not Been the Same.'

[Nicholas Kohler · Rating 4 out of 5]

A compulsively readable portrait of Canadian bohemianism in the late 90s, early 2000s, and beyond. It's hard to believe many of the things chronicled actually happened, and often just under our noses in staid Toronto. Nostalgic without being maudlin, hopeful without being naive, and full of indelible characters. Also often very funny. Victoria, Vancouver, Winnipeg, Guelph, the GTA, and Montreal are larger-than-life personalities in and of themselves, all brought to vivid life: Barclay is a born storyteller.

[kyle · Rating 4 out of 5]

Brutally long, but satisfying. This book doesn’t have intrusive prose or cute pretentious tidbits like a lot of music documents similar to this one does… it’s really just kind of hardcore journalism and storytelling. And it’s researched and told so well.

I will say this book doesn’t have the unpredictable or scandalous stories that might hook in your cousin who only knows Arcade Fire. But it’s kinda clear that’s who the book isnt for. This book is for the heads who grew up on blog rock.

[Patrick Book · Rating 4 out of 5]

Delightfully comprehensive in a way, thankfully brief on another. Each artist receives a generous amount of focus but given there’s more than 40 features you can only go on so long, and Barclays strikes a terrific balance.

He doesn’t let his personal biases and alliances bleed through too much, and does a terrific job of being as objective as possible.

It’s a great analysis of a moment in time that is all too rare and may never come again.

[Annarella · Rating 4 out of 5]

A huge book that will be surely appreciated by anyone who want to learn more about Canadian music as plenty of artists are incluceded.
There were a lot of information and I found the book well reserchead and informative even if the style of writing is a bit too dry a times.
Recommended.
Many thanks to the publisher and Netgalley for this ARC, all opinions are mine

[Asta · Rating 3 out of 5]

Really more than 3 stars
Closer to 4.
Music is so subjective and Barclay took on a mammoth task here.
There's a good chance that this will become a critical reference to Canadian music in the future. Definitive? Not so sure.

[Stephen Johns · Rating 5 out of 5]

One of the absolute best music books I’ve ever read, and I did a graduate degree in popular music. Can’t recommend enough.

[Julia Zingel · Rating 5 out of 5]

very informative about music from Canada during this period.

I would love to see this as a documentary!

[Nigel Ewan · Rating 4 out of 5]

This book is very long—but if you like even just half the bands it chronicles, it goes surprisingly fast. I skimmed a chapter or two.

[Sonic Yogur · Rating 5 out of 5]

The most beautiful music book ive ever read. The author writes from such a deep place in his heart for all these bands that becomes feeling contagious. You become loving all these people like its a fictional book. Ive laughed a lot, ive learned a lot, ive loved a lot. The tematic its quite specific but every music nerd should read it