Do it for Ronnie (A benefit concert) feat: Dave Monks (of Tokyo Police Club), FrETZ (members of Fresh Snow & METZ), Flowers of Hell, V ∆ N E S S ∆ (Lioness) – Tickets – Lee’s Palace – Toronto, ON – October 8th, 2015

Do it for Ronnie (A benefit concert) feat: Dave Monks (of Tokyo Police Club),  FrETZ (members of Fresh Snow & METZ), Flowers of Hell, V ∆ N E S S ∆ (Lioness)

Lee's Palace Presents

Do it for Ronnie (A benefit concert) feat: Dave Monks (of Tokyo Police Club), FrETZ (members of Fresh Snow & METZ), Flowers of Hell, V ∆ N E S S ∆ (Lioness)

plus members of UNCUT, 2 Koreas and controller.controller

Thu 10/08

Doors: 8:30 pm

Toronto, ON


This event is 19 and over

Featuring performances by

FrETZ (members of Fresh Snow & METZ)
Dave Monks (Tokyo Police Club)
The Flowers of Hell
V ∆ N E S S ∆ (Lioness)
plus members of UNCUT, 2 Koreas and controller.controller


Do it for Ronnie (A benefit concert)
Do it for Ronnie (A benefit concert)
Ronnie Morris, best known in the Canadian music scene as the bass player for controller.controller and Lioness, is the focus of fundraising efforts from friends and family over the next two months. There are two benefits planned to help raise money for the Ronnie Morris Recovery Fund.

The Ronnie Morris Recovery Fund was set up by friends in May 2015 after Morris suffered a massive stroke from a double-arterial dissection. After complications during emergency neural surgery, Morris underwent a life saving surgery at the Trillium Health Centre in Etobicoke, Canada.

On Thursday, October 8 at Lee's Palace, Ronnie's friends in the music community are coming together for a benefit concert. "Do It For Ronnie" will feature performances from Ronnie's former roommate Dave Monks of Tokyo Police Club who will play a solo set, Toronto noise-punks METZ and krautrock masters Fresh Snow collaborate as "FrETZ", V ∆ N E S S ∆ of Lioness will treat us to her new dance/pop solo project, The Flowers of Hell will perform excerpts from their latest space symphony and members of controller.controller, Uncut and the Two Koreas are planning an all-star jam.

"Ronnie's much more than a bassist; he brings a creative force to things and gels musicians together socially," said Greg Jarvis from The Flowers of Hell. "He's the sort of precariously employed creative type that makes Toronto's culture what it is - but sadly he and too many like him slip through the cracks of the system and need help from friends in such times of need."

Nirmala Basnayake, controller.controller bandmate, adds, "Raising awareness about the risk of stroke to people in the underfunded 20-64 age bracket is important to all of us, and we are working to bring more attention to that issue, but the heart of this fundraiser is Ronnie. He's our brother and our friend and a talented musician who is missed in the Toronto scene. We love him and want him to return to making music. This fundraiser will help him get there."

Tickets are $25 and are available online via and at Rotate This & Soundscapes.

In addition to the October 8 benefit, friends from the Scottish and Irish communities in Brampton have planned a fundraiser this Saturday, September 19, at the South Fletcher Sportplex in Brampton. The event gets underway at 7 p.m and features CHIN radio host and Irish singer/comedian Hugo Straney, various DJs and music by The Worts (featuring Colwyn Llewellyn-Thomas of controller.controller).

Ronnie returned to his family home in July and continues to improve daily, however, Ontario's health care system (OHIP) limits post-stroke care for victims between the age of 20-64. At 37 years old, Ronnie is left to cover months and potentially years of rehabilitation costs, including equipment, physiotherapy and medication. To date, the Ronnie Morris Recovery Fund has raised over $45,000, which will help to cover rehabilitation costs, estimated at $200,000.

"We, Ronnie's family, are so thankful for the support given to Ronnie by his friends, family and rehabilitation specialists and thank everyone from the bottom of our hearts," says Ronnie's mother, Rosemary. "We are most grateful that our son, our miracle, is here to witness for himself just how much he is loved and how many people's lives he has touched."

For more information on how to donate and for updates on Ronnie's recovery, please visit:

Please visit to learn how to recognize the signs of a stroke.
Dave Monks (of Tokyo Police Club)
Dave Monks, "All Signs Point To Yes"
All Signs Point To Yes is the first solo release from Tokyo Police Club bandleader Dave Monks. These seven songs were written following the completion of his band's most recent album, Forcefield , over the latter half of 2013, while Monks was falling in love with a new person and a new place. Inspired by that romantic relationship and a move from Toronto to Brooklyn, Monks sought to hone in on the honesty in his songwriting, stripping down other sounds in order to focus the spotlight on his voice and acoustic guitar. The result is an EP of fully formed, earnest, and insightful songs that serve as both a natural evolution and familiar embrace of Monks' music.
Despite playing bass while singing for Tokyo Police Club, Monks is no stranger to the acoustic guitar, having used the instrument to write the band's songs since the beginning. Monks was also encouraged to unplug when he ended shows from a recent TPC tour by playing "Tessellate" alone onstage with just an acoustic, harking back to the song's original version. " We always kinda liked the original acoustic version," says Monks, "so at the end of the concert we decided to do that with just me onstage; no mics, no PA, a quiet room… It was this really cool, intimate, conversational moment with the crowd. I think playing that gave me confidence as a communicator. I can just say the words I want to say, people will understand them, and people will appreciate that. You can do more with less." Removing the other instruments also revealed a creative freedom for Monks, inspiring a simplicity and directness to which all songwriters aspire. "As I was writing these songs I just thought, 'What if this is the song, what if it just starts with me and I don't have to add anything else and I can embrace all the things that come most naturally to me?' There's definitely less stuff to hide behind. I think I was learning some of that when we were making Forcefield , to be simple and direct, but it's not always the best when you have three other guys ready to go. You can really strip it back and do that when there's just one." It's worth noting that this project has been fully cheered on by Monks' Tokyo bandmates, who helped guide him and, as he says, keep it real.
Settled in his new place in Bushwick, Monks embraced the collaborative spirit and structure of New York, adding a new bass player and drummer to the project while sharing songs constantly with his girlfriend and other musician friends. He also spent hours listening to Paul Simon's self-titled solo album, an epic study in the power of acoustic minimalism. "The way Simon tells stories, it's like how they tell it in a conversation on Seinfeld but set to music. It's so awesome he can do that and doesn't have anything else going on in it—less with more." The process resulted in a steady stream of creativity and songs filled with introspective sincerity and direct, almost advisory lyrics, sentiments you can hear in every note Monks sings.
"It's definitely honest," he says of his voice on the EP, which he recorded himself in his apartment before handing over to be mixed by Rob Schnapf. "It could be too honest for some people but I'm in a really good spot and wrote a bunch of sweet songs. I see myself as a good communicator. I appreciate the connection that comes from sharing something that somebody might not have seen, that's not visible to the naked eye, whether it's that acoustic moment at the concert, or saying something funny in a song that is supposed to be serious and emotional. People do relate to it, and I find that super rewarding; that drives me in a lot of ways. I'm trying to understand what people really want to get out of music." The vessels for that communication are perhaps a slight change-up from what you've heard from him in the past, but at their core these songs are unmistakably Monks. "The Rules" is one of those direct songs that Monks says came so urgently and viscerally to him that he almost didn't even need to write the words down to sing them: "I don't make the rules/I just play along/And you can't break the rules/I just sing my song." It climbs by way of keyboards, drums, and even strings but, like all of the songs here, still maintains a sense of stripped-back, bare sparseness, allowing Monks' voice to carry the weight. "Gasoline" is an answer to the challenges of time and weariness, and finds Monks both happy and relieved to see himself in love. "'Gasoline is burning up/I need someone to rely on,' that's one of the most plain-English things I say on the record," he says, pointing out its minimalistic strength amidst the acoustic strumming. "That can work without anything else on it."
Despite all its sincerity and intimacy, All Signs Points To Yes still manages to avoid being too wistful or overly serious while still giving us a very real look into the life of its singer. "Summer Dream," which ends the record and was one of the first songs Monks wrote for the project, is filled with the kind of nice-guy humor that endeared us to him and his band in the first place, and may be the clearest glimpse of Monks' personality we've seen yet. " That one I like because it's got some humor to it, even if it's pretty subtle," he says. "It's nice to get to be kinda funny. 'We had nine children and named them Taylor.' I think a lot of songs tend to be better as emotional outlets than humor outlets. It's hard to capture that. I feel like my weekly crisis is: "Am I being me, am I being myself?' I always try to be learning and expanding and pushing my boundaries, but at the end, am I being me? Sometimes it's so hard to sound like yourself in a song, and then a song like "Summer Dream" comes up and reminds you, 'Oh yeah! I'm that thing.' That song was important for
All Signs Point To Yes is a small record with a big heart, a snapshot of a man in a new time and new place who is learning to expand his reach, all while stripping away the superfluous and concentrating on connecting through trust, humor, and sincerity. "It gets a little mushy I guess," he says, "but I met this girl, and all of a sudden you can see so far down the road, and things looked good! Let's move ahead and not wonder about what else could be, let's just do this. All signs point to yes, if you want them to point to yes. If you find yourself in the position to have that sort of attitude, like it's destined or something, then all signs will point to yes."
Venue Information:
Lee's Palace
529 Bloor St. West
Toronto, ON, M5S 1Y5