Our Lady Peace announces 20th anniversary tour for 'Clumsy'
By: Mark Schiff AXS Contributor Jul 31, 2017 6 hours ago
The 1997 album Clumsy by alternative rockers Our Lady Peace is considered one of the greatest albums ever released by a Canadian band. Now, the group is hitting the road for a special run of shows celebrating their seminal album.
The band’s fall tour will kick off on Oct. 20 at Upstate Concert Hall in Clifton Park, New York and finishes up in Los Angeles with a show at the El Rey Theatre on Nov. 21. Tickets and VIP packages will go on sale this Friday, Aug. 4; get tickets to select dates right here on AXS.com.
Clumsy sold over 1 million albums on the strength of singles like “Superman’s Dead,” “Automatic Flowers,” “Carnival,” “4am” and the title track. In a Facebook post announcing the tour, the group’s frontman Raine Maida said the band had “designed some amazing limited edition pieces of merch and will be performing deep tracks from the Clumsy album, plus your favorites.”
2017 marks the fifteenth anniversary of Simple Plan's debut album No Pads, No Helmets...Just Balls. To commemorate the anniversary, the Canadian pop-punkers are heading out on a U.S. tour with Set It Off and Seaway where they will perform the album in full at each show.
Check out the dates and a statement from the band below!
"It's hard to believe that this year, we will be celebrating the 15th anniversary of our debut album "No Pads, No Helmets...Just Balls". To commemorate this very special milestone, we are extremely excited to announce that we will be heading out on tour performing our entire first album all over the US. Even cooler, the tour kicks off on March 19th, the exact date the album came out, back in 2002.
These last 15 years have been an incredible journey for us. From rehearsing and writing songs in our parents' basements to selling millions of albums and playing shows all over the world, we got to live so many of our dreams because of this band and we couldn't be more grateful. The best part is that we got to do it all with the same 5 friends who started the band together; we couldn't be more proud of that!
After releasing our 5th album last year and playing more than 100 shows in over 40 countries, we felt it was important take this opportunity to look back and celebrate the amazing adventure we've had as a band and as friends. It felt important to do something special, something we've never done before to mark this landmark in our lives. This is why we wanted to do this tour. "No Pads, No Helmets...Just Balls" changed everything for us and we are so excited to play all these songs again and relive a time in our lives full of so many amazing memories.
More than anything, we wanted to do this tour for you, our fans, who have been there since day one, supporting us and giving us the chance to do what we love the most in life. So many of you have told us how much these songs have meant to you over the years and how this record had a big impact on your lives. We wanted to do this tour to celebrate the emotional connection we all share with these songs. We hope these shows can make you feel like a kid again, make you want to sing your heart out and bring you back to a time where nothing mattered except listening to music, hanging out with friends and going to concerts.
2017 is gonna be an amazing year of celebration for the band and we really hope you'll be able to join us for these very unique shows. Thanks for all your support and see you very soon!
Pierre, Chuck, Sébastien, Jeff and David."
ALCHEMY INTERVIEW 2014
Record producer and songwriter, Arnold Lanni, shares an enlightening perspective on his time in the studio with bands such as Simple Plan, Our Lady Peace, and Finger Eleven as they developed from the early stages of their careers to the top-selling musical acts they are today, while also expressing his views on the past and present state of the music industry.
Posted by RiffYou On April 02, 2014
Interview: Producer Arnold Lanni’s Strong Musical Views
At his Alchemy Studios in Murrieta, CA, musician, producer, and songwriter Arnold Lanni is continuing to help bring young bands toward a level of greatness. For a man who can be credited with laying the foundation for the early successful years of Our Lady Peace, Finger Eleven, and Simple Plan, this isn’t a new path, as much as it is a lifestyle.
When Lanni spoke with Riffyou.com last week regarding the 20th anniversary of seminal Our Lady Peace album Naveed, it became abundantly clear that he isn’t a man that takes music lightly. There’s a passion in his voice; a knowledge in his words; and a conviction in opinions that could make certain musicians squirm. Yet, there’s a generosity and genuine nature to him that allows his theories to translate properly.
Having founded Alchemy Music Company about a decade ago, Lanni spends much of his time in the U.S. within a 4,000 square-foot studio that, as he admits, doesn’t feature any gold records, awards, or anything to do with his accomplishments. Instead, there are plenty of instruments, games, couches, and ping pong tables.
“I wanted a place where musicians could come in from out of town and just feel creative. I don’t want it to be about me,” he says of the facility. “When you come to my studio, I want it to be about you and your music. It doesn’t matter what I’ve done. What is important is what you have done; what you are going to do; and how can I help you get there?”
Lanni could brag easily if he wanted to. Aside from Naveed’s success, Lanni helped Our Lady Peace (through co-writes and production work) sell more than a million copies of 1997’s Clumsy (in Canada alone), thus landing him a Diamond record certification, something that doesn’t happen too often in the Great White North. He also penned “When I’m With You,” a song that went to the top of the Billboard chart four years after his band Sheriff had recorded it. The band was dead, but somehow the song took on a life of its own without any label or managerial push.
Needless to say, Lanni knows a thing or two about song writing. He also knows how fortunate it is to be one of those few that are provided with great song ideas from “the creator” above, and recognize that that is just the beginning of the process. From there, one must get crafty, nurture the idea, and work towards developing said idea into a song that resonates with others.
“The greatest artists are the ones who sing integral songs; they resonate with the audience; and [their music] is delivered in a way that’s iconic,” believes Lanni. “I think a great song has to just resonate with the listener. It could be something as benign as ‘oh, I like that one word he says, or I like the way he does this guitar part.’
“Not to sound overly graphic, but really, the association with music and the listener, is not unlike having sex with your partner,” he continues. “There are no rules. As long as nobody is getting hurt, and no one’s forcing anyone to do anything, if two people are getting off, hey, all the power to you!”
The trouble Lanni finds nowadays regarding today’s music scene, however, is the freedom in which some individuals have when it comes to making and releasing music. When touching on the subject, Lanni refers back to the old school days of the music business where gatekeepers were in place to ensure that an artist was best representing himself when attempting to put music out into the world. A&R types and fellows with walls filled with gold records were introduced to artists, by labels, to help maintain quality control.
“Nowadays, there are people who have no business making records. What that does is clutter things up,” notes Lanni. “There are so many talented kids that are talented, but they never get the chance to be heard because there are a bazillion records out there.
He later asks: “How can you build a career when people are seeing the worst of you?”
This partially exists due to an individual’s increasing ability to pour money into his own gear and record from home, believes Lanni. This may limit studio costs and help someone who fears the opinion of an outsider (i.e. a producer) looking in, but Lanni doesn’t buy into this strategy.
“I understand why musicians feel like they can’t go to a big studio,” he explains. “But in music, just because you can [record yourself], doesn’t mean you should. There’s a misnomer out there…just because you have recording equipment, doesn’t mean that you should be recording something. That would be the equivalent of me going home and fixing my leaky faucet…would I then call myself a plumber?
“But with music today, it seems like, ‘hey, I have a little digi-system, I’m a producer. Come over to my house and we’ll make a record.’ Any trained monkey can record music…I don’t think that’s any great feat. Any knucklehead can produce a record. Now, try to write one or record one that resonates with people – that’s a different story.”
These may be harsh words from Lanni, but don’t get him confused with a relic that hates the modern age. He is still a supporter of up and coming talent, but fears that the lack of certain red tape can only harm the music community. He conveys that expertise is still out there and should be taken advantage of.
He continues to enjoy working with younger artists. When he joins forces with them, he wants to know about their favourite albums; what their motivations are (good or bad); and develop a level of trust. In spades, honesty and self-awareness are also of the utmost importance.
Relays Lanni: “When I’m working with young people and they play me something, I’ll say ‘that’s a really great song,’ or ‘this one here, not so good.’ They’ll ask why, and I’ll tell them what I’m hearing. Then there’s a fifty-fifty chance that the artist believes me, or doesn’t believe me.
“If you’re a young person, you don’t know what you don’t know,” he elaborates. “If you can understand that, then you just might make the right decisions. I also try to encourage people, universally, to be who you are. That seems like a simple thing, but it’s amazing how difficult it is. When you’re young, your inclination is to sound like your heroes. What I try to make young musicians sound like who they think they are, by stripping away what they think they should sound like.”
The Art Of Songwriting With Arnold Lanni
Equal parts art and practice, writing a song can be a challenging task for even the most talented musician. The songwriter’s job is to engage the listener’s emotions and capture their imagination using all the tools of the musical arsenal; melody, harmony, instrumentation and, of course, lyrics. Not easily done.
Arnold Lanni is a veteran of the music industry. He’s worked as a producer, engineer, musician and songwriter. His work on Our Lady Peace’s mega-selling Clumsy was rewarded with a Diamond certification (1,000,000 copies of the album sold in Canada alone), and he also wrote Sheriff’s #1 Billboard Single ‘When I’m With You’. Not only that, he’s also one of our New Songwriters’ Workshop instructors! Arnold was kind enough to sit down with CMW and offer his thoughts on songwriting, the music industry, and the creative process.
What qualities does a great songwriter need?
As a writer, I try to tap into the feelings I had as a young kid listening to a song for the first time and how I fell in love with it. If I can give that experience to someone listening to my song, then I’ve done something right. I remember being fascinated with the records that my older brother and sister would always play and I remember the excitement of watching TV shows like the ‘Ed Sullivan Show’ when different bands and singers would perform.
There was an innocence involved in being a fan. I didn’t analyze or overthink the songs I fell in love with. It was a very quick visceral response. I always remember that the listener doesn’t necessarily know why he or she loves or hates a song. A song either connects and resonates with them on some level or it doesn’t. It’s never one thing. The song needs to engage the listener every time.
What are some qualities that make a great song?
I believe a great song has to resonate and connect with a listener and in some way make the listener feel ‘something’. The listener has to be ‘affected’ in some way. Again, it’s too obvious to say that a great song needs a strong memorable melody, a great groove, a catchy lyric etc. If the song doesn’t make the listener ‘react’ in some way then it’s just background music?
Describe your songwriting career. What can aspiring songwriters learn from your story?
I’ve been fortunate enough to have had a decent career. I became a professional musician in the late 70?s and had my first song published in 1981 and I’ve been working ever since. I’ve had the benefit of working with some very creative and talented people that have influenced my life in a very positive way.
My career however almost died before it got started. When I was in grade 6 I was tested by the junior high school I was scheduled to attend the following year. The test, I was told, was to determine what program I was going to be enrolled in at the grade 7 ‘junior high level’.
I had chosen the arts program because I wanted to study music. Within a short time of writing the test however, I was told by the schools guidance councillor that the test revealed that I had no musical aptitude and for my own good, I was going to be enrolled into the ‘wood shop’ program where I could learn carpentry skills. Needless to say I was disappointed, but believing that ‘grown ups’ knew best, I dropped my dream of wanting to be a musician.
It wasn’t until many years after that, that I taught myself how to play the piano. Eventually I quit school and joined a cover band and went on the road for a while. It was during this time that I learned a lot about what made a song great. I had to learn hundreds of hit songs and performed them every night. That process taught me what a great song felt like and I saw first-hand how a great song affected an audience.
I recommend that every person who wants to be a writer, listen to all the great songs that have been written from the beginning of time. Everyone of those songs is special! Songs become classics for a reason: they touch people. A great song is timeless!
You’ve branched out into producing, artist management and engineering. Do you think aspiring songwriters should learn all aspects of the music-making process?
As a young kid I was fascinated by the manipulation of sound and how different instruments were recorded etc, so I made it a point to learn as much about the recording/creative process as I could. Getting into production and engineering allowed me to be creative in other ways. I still really enjoy it.
That being said, I don’t think it’s necessary. Songwriting is entirely different than any other musical process. I don’t believe it’s something one can learn. One can only develop their songwriting craft if they are already able to ’hear music in their head’. I know lots of incredible musicians that just are not able to write songs….they have a different gift. Someone can only become a great songwriter if they’re already blessed with the gift of hearing music. I feel very blessed because I’ve been hearing music in my head since I was a young kid. For that I’m very, very grateful.
You’re a prolific speaker on panels and workshops. What do you like best about speaking with aspiring musicians and industry professionals?
I really enjoy sharing my experiences with young people and the positive energy they exude. I think creative people are fascinating in an ‘off-center’ kind of way. We’re all a little nuts and that’s what makes life interesting!
Thanks to Arnold for taking the time to chat with us. If you want to hear more from him and his insights into the art of writing a song, sign up for our New Songwriters’ Workshop and learn from him and our other incredible instructors.