Building the commons

Calgary heavyweights join forces for the Commonwealth


When Calgary was awarded the distinction of being named one of Canada’s cultural capitals last week — and, in the process, earning $1.6 million in federal funds — a predictable parade of platitudes and back-pats ensued: Mayor Naheed Nenshi, in an interview with the CBC, called the city “the capital of new Canadian play development.” Heather Klimchuk, the newly minted provincial minister of culture and community services, told the Calgary Sun that we “need to know the treasures we have in the arts and culture.” The Palomino promoter Spencer Brown tweeted a simple, if common, sentiment: “We did it.”

But Una Pizza’s Kelly Black, preparing to launch the Commonwealth Bar & Stage, along with the minds behind Craft Beer Market and the HiFi, isn’t ready to celebrate yet. Nor is he willing to pair the club-restaurant-venue — opening on Wednesday, October 26 in the 10th Avenue S.W. space occupied by legendary venue The Warehouse — with Calgary’s surging cultural status.

“You go to a city like San Francisco or Montreal and walk into any hole in the wall, and it’s amazing,” says Black. “Calgary still likes its beer houses and chicken wings — you try to do something different, and it’s dismissed as pretentious. It’s the people who do things differently that advance culture.”

“There are so many faceless random places peppering the landscape,” adds Commonwealth owner-slash-HiFi founder-slash-Smalltown DJ Pete Emes. “For a city we love, we want this to be a cultural hub.”

Indeed, the Commonwealth plans on doing things differently. Using a historical space — at one point, a railroad shipping warehouse, at another, a focal point of Calgary’s early Chinatown, and, beginning in the 1970s, an irrefutable touchpoint of Calgary’s musical lore — the Commonwealth’s concept is anything but traditional. Spread out over 25,000 square feet with a 500-person capacity, it boasts a street-level lounge seating 30, a cavernous, second-floor stage, and the Atlantic Room, a basement space with a DJ booth and secondary stage. It’ll feature a Craft Beer-curated, American-inspired beer menu across three bars, with bourbon-heavy cocktails and Coney Island and Brooklyn lagers on tap. To top it off, its Cafeteria — a food window dubbed as an “indoor food truck” — features a menu of finger foods built for on-the-fly snacking.

“It’s a matter of recognizing and embracing Calgary, but bringing something new,” says Emes. “We’re not trying to live up to The Warehouse. If we’d given the space some lipstick and a facelift, then everyone would be comparing us. With the Commonwealth, you literally can’t tell you’re in the same space.”

He pauses. “People are going to be blown away by the scope of it.”

Emes doesn’t delve further into the details. To date, he’s been downright secretive about the Commonwealth: Its website doesn’t list an address, he doesn’t divulge any financial details about the venue and, in fact, Fast Forward Weekly has been the only media outlet to step onsite.

But here’s what he does share: Working with local designers McKinley Burkart, the Commonwealth’s visual identity is what he calls “modern vintage” — all exposed brick and steel girders — akin to a jazz-era bar spiced with liberal doses of WTF? Expect a “curiosity cabinet” and a row of stuffed crows adorning the bar.

“We were thinking of having a stuffed polar bear,” he says. “But we decided that was too much.”

Right. Still, taxidermy. An affordable food window slinging finger-foods. A two-stage venue promising Sled Island-style multi-floor performances. And, should the Commonwealth be as seminal as its brass suggests, beer houses and chicken wings will no longer cut it. At least not anymore.

“There’s no reason why a live venue or nightclub can’t have quality. A bar like The Commonwealth is going to set the standard,” says Una’s Black. “Take Una’s example: It helped change [Calgary’s food] landscape — it was cheaper when everything was astronomical. Now we have restaurants that are knocking us off. And they have to be better than us to survive.”

“That’s what the Commonwealth will bring. New places will have to be better than us, and that’s a good thing.”


Them’s fightin’ words. But the Commonwealth’s brass doesn’t pretend that the city, or their club, exists in a void. In conversation, Portland, Austin, Brooklyn and L.A. all come up as frequent inspirations. (Though Emes plainly states that he hopes the bar will be as influential as The Night Gallery, The Factory and Republik.)

Still, when asked for the Commonwealth’s closest comparison, Emes chooses to leave the city: He cites the U Street Music Hall in Washington, D.C.

“They were our friends we knew from the Internet, and U Hall was [initially] inspired by the HiFi,” says Emes. “They opened up their kitchen with a chef from D.C., and they took the concept to a whole other place. And they proved that [clubs] don’t have to be so regimented — you can have a place that’s more than a hole or a meat-market nightclub.”

Like the U Hall, Commonwealth’s live music offerings and menu will hold equal footing with its DJ nights. Its cafeteria, which operates independently from the venue, had its menu developed by Steve Smee — who, despite his lack of culinary-school training, has worked at Mercato, Una and Ox and Angela. He created a program more indebted to Asian cuisine than his CV’s traditional Italian fare. It’s a nod, says Smee, to the location’s Chinatown roots.

“We were given a blank cheque,” says Smee, when asked how he developed the menu. “We did research in Portland and focused on the kogi [Korean BBQ beef] trucks in L.A. We wanted to prepare things simply and let the ingredients speak for themselves.”

“And you don’t want to go to a bar and get bad breath,” adds Black. “The flavours are more palette cleansing.”

The result is a 10-items-for-under-$10 menu that’s built for dance-floor accessibility: The foods are small, edible without utensils and served up in to-go containers. Black says to expect Vietnamese-style noodle dishes, bun mai and a few Spanish and Mexican flourishes on the menu, all served in traditional lunch-line fashion. (“Western Diner in Mission, or the old 1980s cafeteria style was the inspiration,” adds Black.)

Then, there’s the music. While the Commonwealth doesn’t plan on hiring a full-time promoter, Sled Island festival director and Broken City organizer Lindsay Shedden has been brought on board to curate the shows. Accordingly, the first shows reflect Shedden’s Vancouver origins: The venue’s inaugural performances feature two West Coast acts in the form of Ladyhawk and Bison B.C.

And, she adds, the Commonwealth, along with not selecting a permanent promoter, also doesn’t have a codified musical philosophy — it’s deliberately not genre-specific. Its tentative schedule calls for live music on Wednesdays, with DJ nights occupying Thursdays through Saturdays.

“Whenever [Emes] would talk about how excited he was for the Commonwealth, I got so excited,” says Shedden. “I was saying, ‘please, please, please, let me be involved with this.’ Now, there’s so many shows in the works, and I can’t wait to put a band on that stage. The sound system is unmatched — it’s the best in the city.”


That’s the tag line for the Commonwealth. But who, then, are Calgary’s “common people”? The city’s fountain of youth is oft-celebrated — Statistics Canada’s 2006 census declared the city the nation’s youngest — its frequent knock was that its best and brightest tend to leave. Shedden, who herself moved from B.C. last year, sees that trend changing. “More and more people aren’t only coming to Calgary, they’re staying here,” she says.

And the Commonwealth, it seems, reflects Shedden’s observation — it’s not only targeting the young who flock to the city, but it’s targeting those who stick around. It’s meant to target Calgary lifers — not flaky opportunists.

“The simple idea is that it’s a bar for people that outgrew HiFi,” says Black. “That suburban, corporate-style restaurant is on the way out, and independent restaurants are what they’re talking about.”

It’s anyone’s guess if the bar will be a main player in Calgary’s nightlife scene. It is indicative, though, that Calgary’s profile is changing: It’s a city where independent business owners can forge massive, downtown projects. It’s a place whose establishment exerts global influence. And if it’s not a Canadian cultural capital, it’s hardly a cultural black hole. And while the Commonwealth is just a bar, it’s reflective of a new-guard Calgary that has little to do with the Stampede.

“The cowboy concept has dominated Calgary’s nightlife scene for so long,” says Emes. “That’s hokey. We want to celebrate another aspect of Calgary’s history, as a gateway for the frontier and a main outpost for the railway and Hudson’s Bay. We love this city and want to celebrate it.

“We want to create a culture. We want to create a scene. But you don’t want to overstate what we’re doing. It’s a bar. We’re not inventing the cure for a disease.”



There was a cultural gasp when The Warehouse and The Underground shut their collective doors in the space that is currently transforming into Commonwealth. A medium-sized venue that brought in acts that couldn’t be accommodated in Broken City’s more intimate setting was a real loss. Not to mention a nostalgia for all those years of goths and punks sloshing around the dance floor or making out under the scaffold booths.

Calgary has seen its share of live music venues come and go. In celebration of Commonwealth’s opening, here’s a totally incomplete and random list of some of the clubs that have captured music-lovers’ hearts over the years.

The early days

If you ask some stalwarts of the local music scene what clubs they remember, you’ll hear exotic names like The National Hotel, Ace of Clubs, Acoustic Go Go, HC’s and The Calgarian.

One that is almost always mentioned is Ten Foot Henry’s. It was only open for three years on Ninth Street and Sixth Avenue S.W., but Henry’s held a particular charm, if only because it was a defunct club called Funk Disco Palace that was taken over by a local punk bassist. The large wooden cut-out that was the bar’s pseudo mascot can still be found perched outside the One Yellow Rabbit office in the Epcor Centre. Oh, and Suicidal Tendencies apparently played there once, so there’s that.

The Westward Club

Where Hotel Arts now stands, surveying all the gentrification around it, there was once a slightly beat-up hotel called the Westward Inn. In the back, The Westward Club was the unlikely home to many a memorable gig. Nirvana played there. The Red Hot Chili Peppers played there. The Flaming Lips played there. But so did a whack of local acts. It was dirty, dark and lovely. It shuttered in 1992.

The Republik, The Republik, The Republik and then The Republik

This bar keeps Calgary on its toes. Originally opened in 1987 on Ninth Avenue and Fifth Street S.W., the bar moved to another location on 17th Avenue S.W. (where it currently sits) and was an essential part, not only of alcohol-soaked bar shows, but of the all-ages scene as well. The best part for the youngsters of the time was that bands would often play an afternoon show before their licensed show that night. The bar closed in 2000, only to be resurrected about a decade later just down the avenue. That location came to a crashing end (the roof caved in) shortly after and the bar was finally reopened in its second location, for the second time, on 17th Avenue, where it still hosts a wide selection of live music (confused yet?).

The Night Gallery

Anyone who’s been in Calgary long enough spent some time at The Night Gallery on First Street S.W. It was one big room, eclectically decorated (including the aforementioned wood cut-out of 10-Foot Henry) and with the worst male bathrooms ever (they were open to the bar, so you had to mind your biscuits). For a while, this was the place to be. Touring acts stopped here from all over. Local acts performed relentlessly and the booze flowed. There are probably lots of anecdotes one could share, if one could remember said anecdotes.

Broken City

Still a mainstay in Calgary’s live music scene, Broken City on 11th Avenue S.W. reflected the same chaotic decorating style and unpretentious vibe of The Night Gallery, with a small space bringing in some great up-and-coming bands. It was, and still is, a local music favourite. Oh, and they have lectures, game nights and bingo too. Huzzah.

Drew Anderson





Comments: 5

APS wrote:

Great article and stroll through the history of the Calgary scene.
I am looking forward to another venue in the city, more so one that has been geared up to profile live music and hopefully people get out and support it.
Not sure if Suicidal ever did eventually play @ 10 Foots, they were stopped at the border and no-sho's for the original show, maybe a second show, but a memorable show for sure @ 10 Foots was a tatted up Henry Rollins and Black Flag, was an eye opener.

on Oct 21st, 2011 at 12:28pm Report Abuse

Makatapish wrote:

If memory serves(and it rerely does at this stage) I believe it was (the great) Acoustic GA-GA not GO-GO Either way you could tell me all that lost albeit well spent youth at the GA GA was "just" a dream and I wouldn't argue

on Oct 22nd, 2011 at 12:24pm Report Abuse

Drew Anderson wrote:

If I'm not mistaken, and again, no guarantees, there was both - Accoustic GoGo and GaGa.

on Oct 22nd, 2011 at 12:54pm Report Abuse

chiclo wrote:

If my memory serves, there was a Ga Ga and a Go Go — which were open simultaneously for at least a little while. The Go Go was an above-board non-licensed venue behind the Louis, the Ga Ga was a booze can/after-hours club in East Village.

on Oct 23rd, 2011 at 9:12am Report Abuse

Makatapish wrote:

Thanks for that.It was indeed the "booze can" I recalled, but now that you mentioned it I also remember frequenting the place by the Louis but not its name.Did it not also have some sort of arts collective component?

on Oct 23rd, 2011 at 12:04pm Report Abuse

Post comment: (Login or Register)

Content © Fast Forward Weekly | Great West Newspapers LP | Glacier Community Media

About Us Contact Us Careers Privacy Policy Terms of Use