Flatfoot 56 – The Vancouver Sessions

Flatfoot 56 has steadily built a reputation as a sand out celtic punk act distinct from their peers.  I was always taken aback by the intro to their 2010 record, Black Thorn, in which the opening track set an unprecedented moody aura, prefacing the album with a rich atmospheric sense that remains with me to this day.  I have to confess some disappointment that the band didn’t explore the mood further in subsequent releases, although they became increasingly adept at their craft with the passage of time.  

After several years, the band’s latest EP, The Vancouver Sessions, finds the troupe picking up where Black Thorn left off, this time turning fan favourites into thoughtfully layered acoustic renditions.  It only takes a few moments to realize that The Vancouver Sessions is a remarkable moment in Flatfoot 56’s discography.  These aren’t mere acoustic versions of previous songs, but arguably rewritten and re-envisioned compositions that infuse layer upon layer of guitars, mandolins, tin whistles, bagpipes, banjos, harmonicas and a host of others.  

Each song’s tempo has been dialed down to underscore the emotional weight within.  Opener “Cain” is lifted from some of their roughest early work in Jungle Of The Midwest Sea, and receives a complete overhaul.  Front man Tobin Bawinkel has become increasingly versatile over the years, developing a weathered, throaty baritone that just wasn’t there ten years ago.  He now commands a stronger presence, akin to those like Nothington or The Dropkick Murphys, but with a somewhat tighter focus.  Fortified by a thick, rhythmic backing vocal hum, the track is outright infectious in melody.  Despite the simple medium, every instrument complements the next, making for a deceptively elaborate yet unassuming performance.  “Penny” makes for a beautiful ballad, infusing a tender duet featuring female vocals that tell the story of a lost soul’s search for purpose.  The EP’s percussion is primarily the work of the Irish bones, making for a strong and direct rhythm when the instrument is called upon.

The EP’s sole original offering, “How Long,” plays off the momentum of past tracks, reimaging what the band is capable of by fully taking advantage of new markings such as supporting female vocals, distant accordion, and a foundational bed of crisp acoustic plucking.  Lyrically, the reduced tempo highlights the thoughtful themes and tactful delivery that has always positioned Flatfoot 56 apart from their peers.  Themes of life and death haunt the chorus lines as Bawinkel repeatedly questions, “how long until the other side,” reflecting the fragility of the gift of life.  Framed by their faith, the band’s spiritual references always remain rooted in a humble, relatable human experience, and are inclusive of their wide ranging fan base.

Until now, Flatfoot 56 had a couple acoustic tracks here and there, but nothing this impactful – nothing this moving.  The Vancouver Sessions EP is a rare treat for fans, and would certainly be a tantalizing point of interest for newcomers.  At a brief five tracks, the worst that can be said is that The Vancouver Sessions leaves listeners high and dry.  But perhaps that’s a greedy assessment; perhaps we should just be thankful for the gift of being privy to the wonderfully intimate experience that is The Vancouver Sessions.  Either way, you’ll want to check it out.