Kim Villagante, better known as Kimmortal is a queer Filipinx visual artist and rapper from Vancouver known for her story like rhymes. She touches upon social and racial injustices, discrimination, and representation. Valuing education, inclusiveness, and liberation, Kimmortal coneys the messages in creative and storybook ways with captivating visuals. Fusing visual art with music, she uses it as an aid to decolonize, teach, and heal.
Kimmortal has played the Queer Women of Colour Festival, Filipino Arts Festival, Junofest, and SXSW. She’s currently working on an album that will be released in August.
Ev: DIY Spring is hosting one of your events, seeing as it’s an intersectional inclusive festival, how did you feel in regards to them hosting it?
Kimmortal: DIY Spring has been consistently supportive and truly DIY which means grassroots and well connected to artists in authentic ways. Bridging the possibilities artists dream up to reach a lot of the QTIBIPOC community in Ottawa, I believe it’s so essential for me to do my thing when I have trustworthy bookers and show producers around me. I’m very grateful for DIY Spring.
Ev: Yes of course! So I heard you studied visual arts and art history, how do you think that knowledge has affected your art or helped it develop?
Kimmortal: I’m inspired by the way I am a visual artist in the world of music. In art school I studied about performance artists like Dana Claxton, Peaches, Coco Fusco, while also listening to poets and emcees like Blue Scholars, Ian Kamau, Gina Loring, Climbing Poetree, and Invincible. My art is influenced by various artists in different mediums. I am working to tap into the same freedom I get when I’m doodling in my music. How I’m planning to do this is to time myself for like 2 hours max to produce tracks, and then write lyrics and record them in another hour.. 1..2..3… And then release the track online. Spontaneous art making is really good for me.
Ev: That being said, and watching your music videos and knowing that you’re a visual artist as well it makes me wonder if you built your own set for “I’M BLUE” and if you animated the video for “Brushing by Heaven’s Shoulder”?
Kimmortal: I animated the entire video for “Brushing by Heaven’s Shoulder.” I’m so proud of that thing. That film came about when I was sick for a good 2 weeks and was bored at home so I decided to film a music video for this song in my living room. It started off as an experiment. The white background is literally a white canvas that I nailed into the wall and filmed myself in front of. The animations are made up of drawings from my sketchbook that I taught myself to animate in After Effects. It was a lot of hours and I lost a lot of files. I wanted to throw my computer against the wall countless times but it turned out swell and has my black and white aesthetic. “I’m Blue” was directed by Entertainment Forever. All the art on the walls are my paintings and the book featured in it is my Visual Arts grad thesis project! The symbols on the trees are my work replicated by the Entertainment Forever team. I am ecstatic when I get my DIY on and pair my art with my music.
Ev: As a queer artist of colour, how did you find the journey to getting to where you are today?
Kimmortal: It’s hard to find other queer artists of colour “out there”. A lot of my friends who are local are queer and/or bipoc and so it’s been a very local journey if that makes sense. I usually meet other queer artists of colour through underground lofi shows I’ve been booked at abroad. I love being a part of punk, hip-hop, experimental, and DIY underground shit because I think that’s where I can cultivate the same intimate feel I get when I’m creating.
Ev: Well that’s certainly a real positive outlook. You have a clear and unique voice for what you do and you tell stories through your art. How did you come about finding that voice?
Kimmortal: I really value education for liberation because it’s where I have found myself and my community and the root to a lot of pain experienced individually and collectively. I am nurtured in conversation and my wisdom is from my ancestors and the people around me. I’m still finding my voice but I try to ground it in honesty. A friend and emcee recently told me that the best way I can stay authentic is by speaking from my experience and from what I know. As I get to know myself deeper, my voice inevitably becomes stronger. I am raised by the bold voices of mainly fierce Filipinx femmes in my life and QTIBIPOC poets, crafters and emcees. I am informed by my friends who are my extended community, who are agitators, healers, teachers, and outspoken voices.
Ev: You clearly address dire issues in our society that seem to be brushed aside, what made you decide to rap and sing about them instead of following the same path others do? Do you think your identity plays into that?
Kimmortal: The late Filipino Canadian youth alliance based in Vancouver was one of the first spaces I witnessed and got connected to radical brown and black emcees and poets. Dagamuffin, a friend, and activist who passed away was an outspoken rapper who was one of many Filipino activists who pushed me to keep repping. I have experienced what it feels like to see someone represent on stage and feel reflected. I want that to continue in this art so that we all feel activated to create. I see how art is not just a tool for activating and educating people, but it is also a wellspring for us to get the energy to keep going.
Ev: That being said, what do you see as the biggest and most important issue you’ve addressed through your music and art and why do you think it’s the most important issue you’ve addressed?
Kimmortal: I think all the issues are really connected. I can’t talk about my relationship to being Filipino without talking about my relationship to being queer and fluid and an artist, etc… I think the power is in the sum of our layers. Sometimes shows are geared towards one aspect of our identities, like a queer show, or like a women of colour show… for the first time, I get to perform on a stage on June 16 that will be featuring Filipinx nonbinary artists based on unceceeded coast Salish territory, aka Vancouver, and put on by Pinoy Pride in Vancouver.
Check out Kimmortal as they headline a DIY Spring show this Wednesday June 13 at The Origin Arts & Community Centre featuring King Kimbit and Throne Seekers, more info here.
Following their most excellent show at Bar Robo in Ottawa on June 1, we caught up with Kingston’s doom-pop trio Deux Trois.
Deux Trois is the project of Nadia Pacey of Konig on drums and lead vocals, Benjamin Nelson of PS I Love You on bass, and Ben Webb of Carvings & We Are Adam West on guitar.
The band recently released Health—a must listen to album which is at times ideal for lounging in the shade on a hot breezy summer day and at time points transports you to a muggy sweaty dimly lit basement show. It has post punk ambience with hints of cosmic gloomy pop and sprinkles of early Yeah Yeah Yeahs, all wrapped up in very much their own sound.
Check out our interview below and then have a listen to Health.
Interview with Deux Trois
The three of you have all been involved in music projects in the past. What was the impetus for Deux Trois’ formation? What lead to you three making music together?
Ben Webb (BW): Serendipity.
Benjamin Nelson (BN): We met at the movie, Serendipity.
Nadia Pacey (NP): I had a contract with Princess Sammi Records in Kingston, ON, for which I was making a record as Konig. During some upheaval at the label, I started collaborating with Benjamin, and a few months later, after we’d toured some and decided that we needed a guitarist to give more heft to the mids, I happened to see Ben outside of his work for the first time in eight years, and knew that he would be right. There was a rightness – that what the sound needed was something that Ben would excel at writing, knowing his taste, history and skill.
Before the album release, Deux Trois released a few tracks—Dave and Late Night Girls. Can you talk about these songs and how they fit in to what you are doing with the new album?
BW: They’re definitely the most digestible songs.
BN: But they do –
BW: They have teeth.
BN: Those two are very good examples of the range of where the record goes—emotionally, thematically, the way the songs sound and feel, those are the opposite ends of the spectrum. The rest of the record is in between
Your music draws on 80’s influences that include post punk, dark pop, and synth. As this is a departure from all of your previous sounds, what has drawn you to the kind of music you’re making with Deux Trois?
BN: For me I think it’s all my education, time I’ve spent studying music that we’re now making – this is the band I’ve always wanted to be in.
BW: I think for me it’s like a natural sort of trying to – instead of trying to over-complicate anything, it’s all about serving the song as opposed to be the most complicated or heavy – this is the band I never knew I wanted to be in.
NP: Until I started writing music and reworking these songs with our band, I’d resigned myself to being quiet, being very shy about sitting behind a kit. I was afraid of being too loud; much apologizing for being so if I was. I was very uncomfortable with the snare in particular. Now it is one of my favourite instruments to play. I played tracks off of a computer or a cellphone for four years instead of performing music live because I didn’t have confidence in my ability to do it in front of people. Making the sound of the record, and it being a kind of thirty minute confession, was about finding a sound that feels good to play and not distancing myself from other musicians, or from musical experimentation; choosing to look right at some of my points of shame and challenge them rather than letting them sit in the back of my mind, where they can effect how I look at everything else.
What bands or artists are you listening to currently that inspire you or blow your mind?
BW: I’ve been listening to new Joan Of Arc – 1984. It’s a challenging listen at points.
BN: I don’t keep up on new music that much, because I like old music. The only new music I really hear by choice is top 40 radio, however, I am a big fan of Ariel Pink’s last record, entitled: Dedicated to Bobby Jameson.
NP: I just spent an hour listening to rap in the car. I keep going a little nuts over Leikeli47, forgot how much I love Eminem produced by Dre. The video and song both for Childish Gambino’s This is America are, together, mind blowing music at its finest. Also, seeing Sylvia Wrath [recently], I felt my soul in her coolness and songwriting. I recently heard a song called Sleep by Sasha Slug as well—that was very good.
What was it like putting together the Health EP and pressing it out on vinyl? For newer bands that are looking to do the same, is it a difficult process?
BW: Well as far as design, I really didn’t have much to do about that. Nadia and Ben sort of had that pretty close to done by the time I joined the band.
NP: We started the design process in October, yeah.
BW: As far as is it difficult: it’s expensive and I think you have to decide if that’s worth it for you. There are cheaper ways to get your music out there. I know it was important to us to have a physical release because we all love that format.
NP: It helped us that Benjamin and I are both designers, but that in particular Benjamin is a record album designer and has been for a number of years. The pressing itself we did not do – it was done by Precision Pressing, whose project manager, Tristen, was great in sorting us out. Paul, the sales associate who we originally spoke with to get the project going, was also very helpful. But yes, it’s an expensive deal.
We gathered together to listen to the test pressings we received, and discussed what we heard beyond the music. Before approving vinyl you have to be able to discern what is different about different pressings and make comparisons between them so that errors, warps, or too much scratching, can be recognized and acknowledged. It’s not difficult, but it is expensive and requires some research beyond having enthusiasm to do it well and right. To know that our record is a 12″ 45rpm record, and that the grooves and information are given more breath in their imprint because of that, is a decision that I feel very good about, and am glad that I can appreciate now. I couldn’t before.
Can you talk about what’s in store next for Deux Trois as far as new music and touring goes after the Health EP is released?
NP: We have a couple shows coming up, and might be speaking with a booking agent for future work. We have been working on three new songs, all of which we’ve played live since writing. I’m looking forward to the point when we collaborate fully as songwriters for the next record, and going to places we might not have been before.
BW: I’m personally excited for Wolfe Island Music Festival. It’s a festival that I’ve been going to and experiencing the excitement of for years, and this will be my first year playing. I’m feeling really good about these new songs; we’re sort of moving in different directions and looking at new sounds, which is always super exciting.
Since taking the reigns as Executive Producer of the NAC Presents series a year and a half ago, Heather Gibson has had the vision of bringing something new to the table. She recognizes the NAC’s importance in developing emerging artists across Canada and supporting the Ottawa/Gatineau region’s local arts scenes, and to that extent, has lived up to her word and is building upon her vision. The NAC is becoming a more accessible stage for local artists to cut their teeth, as well as garner more exposure and develop their audiences.
Moreover, her work in challenging the music industry’s problem of unbalanced opportunities for women and marginalized people has allowed the NAC to be a shining example of how music programming should be conducted. She is steering the ship in the right direction, and demonstrating that achieving diversity and gender parity isn’t rocket science.
Upon the announcement of NAC’s 2018-19 season programming—which includes over 55 shows—I spoke with Ms. Gibson on the phone about these topics, and the new theme of Changing Landscapes.
Interview with Heather Gibson
Can you speak about the theme of changing landscapes and what that represents?
I didn’t book with a theme in mind, it’s just the theme that came. We wanted to book the artists that we wanted, and then the theme of “changing landscapes” is what it ended up being. It represents many things—changing of landscape here at the NAC, changing direction, the idea that Canada isn’t one thing and that it’s a collection of art and influences. That’s how they all kind of fit into that theme.
What role do you see the NAC playing with respect to gender parity and diversity in the grand scheme of the Canadian Music industry?
I don’t think gender parity is hard. It’s really challenging to understand why people will program an entire festival where there’s one female artist over nine days or something. With all respect due to my colleagues, I think that they either don’t have the same goals or aspirations as the National Arts Centre, or they just don’t know how to do their job very well. Gender parity and diversity is part of doing your job as an Artistic Director—in any kind of art. So, the role of the NAC is far deeper than presenting a diverse program, it’s about getting to the root of the issue and what the NAC can contribute to changing that. I don’t find it difficult to book like that, but I hear a lot of my peers saying that it is difficult to book diverse acts at a headlining level.
There are arguments to be made that there’s a short list of women who will perform for $100k or $50k, but then there needs to be a focus on booking women in a secondary role, underneath the headliners and on the B-stage. Bringing up the development of women like we have been with guys for decades is important. We have a responsibility at the NAC to ask the tough questions, like why are there so few female conductors? We need to figure out how we can develop female conductors. Or if there are only a handful of indigenous artists who fit the bill, then how do we make sure there are more of them in the future?
It’s difficult, and a lot of those conversations are systemic. There’s a whole ecosystem here that hopefully we can influence, and the audience is involved in that. If they want to support diversity, then the audience needs to come to those shows.
Traditionally the NAC Presents and the NAC Orchestra have been their own separate entities. Can you speak to how that collaboration came to be this season?
Yeah, the series is called Sessions. Part of the challenge is that the Orchestra is booking into 2020 right now, so when I first got here and expressed interest in this collaboration, they were very keen on the development of Canadian arrangers and composers, as well as audience development. On my side of things, I’m interested in artistic development of singer-songwriters. With people like Lynn Miles, we’re doing a full-commission project from start to end with her, so archiving great Canadian songwriters is important as well. Through the years you’ll see more and more of that, and Lynn is actually the first one.
It was a conversation we’ve had, and the NAC Orchestra and Andrew Shelley (Music Director) have been very supportive of this idea. They’ve been keen on seeing what we can do. We have a mash of things this year, Lynn Miles and Tom Wilson are doing the first one on October 4th. Tom is coming with his book and doing the show he did with the Hamilton Philharmonic, and Lynn is being commissioned. We’re doing six or seven with her on this first one, and then eventually over a series of shows she’ll have a full one in a year and a half. And then Stars are a full commission in December, and that is giving us the opportunity to work with a lot of great Canadian arrangers, and probably a new Canadian conductor.
There are a lot of different parts to it, Patrick Watson has a lot of these symphony shows under his belt and I think there will be an opportunity to do a lot of neat stuff with him as his compositions have been getting more and more intricate. It will be interesting with the band in front of the orchestra. The Johnny Reid Christmas show is allowing us to work with local choirs and have him front this thing that will seem like a community Christmas concert. It’s allowing us to do new things and open doors. It will allow us to break down some things and have a different conversation about the NAC Orchestra and how they fit in the context of music, not just contemporary or classical.
How has focusing more on programming with local artists—mainly on the Fourth Stage—been beneficial to the NAC?
I think as long as I’m here this is something that will continue. On the local side of things, we live and breath here in Ottawa. There’s no reason why we wouldn’t be part of the local music scene. For a year and a half since I’ve been here, we’ve been trying to figure out what that looks like, and we certainly don’t want to be a glass institution where once you’ve reached a certain level, you get to play a show at the NAC every once in a while.
I very much want to be part of developing careers. Our next big challenge is how do we move beyond just being a presenting venue, and move towards developing artists’ careers? We 100% have to look at that locally, and the scene we have here—whether that’s Pressed, Bar Robo, LIVE! on Elgin, or the Black Sheep Inn in Wakefield—we all have an important role to play. A band like Hillsburn will play at the NAC, and then go play a place like LIVE! on Elgin, and then come back here. The whole time they’re building their audience in the community.
It’s integral to me that emerging artists are involved in our program. I really don’t want to have a program where we wait until you can sell 900 seats and then we’ll put you in the Theatre. We need to be part of the development, and artists need to have the opportunity to have access to our gear, crew, and lighting, and I think emerging artists need the opportunity to play on this kind of stage. Then they go back out into the world like they do on tour, and then we’ll do it again in six months. We have to be a part of that.
As a bit of an overzealous freak when it comes to good folk music in Ottawa, it’s been a few years now since I first developed a weak spot for decorated bilingual duo, Moonfruits. With the release of their sophomore album Ste-Quequepart in 2017, my generally cynical outlook on concept albums started bruised and further softened. The album was crafted to play like the soundtrack of an old film, one I’ve now listened to in its entirety on at least a dozen separate occasions. On the train, on the bus, in the shower, walking home from Vanier at 4AM. I’m often in search of escape and, if you are too, may I just say that the friendly, quirky romanticism of Saint-Somewhere is just the place to go to forget about where you may be.
As an anglophone and someone with an ego as fragile as tissue paper, I wanted to write about the album for some time but wasn’t sure I could do it justice, given how I am generally quite focused on lyrical content. I do believe, however, that their ability to convey authentic emotion through carefully constructed melodies and complimentary harmonic arrangements transcends any form of linguistic barrier, and that as someone who cannot actually understand 80% of what is being sung, I feel a genuine connection. That being said, I did take the time to translate most of the lyrics, though undoubtedly crudely, and found that I was not entirely off-base in terms of assuming the lyrical content based on the tone. I did read all of the English prose that accompanied the release of the album, many of which have a distinct Brother’s Grimm sort of flair which primed me for the blending of the wholesome and the foreboding.
There is a sort of unsettling undercurrent alive throughout the record with the ambling twang of the banjo conjuring images of a dusty, rusty old town in which all its strange but friendly inhabitants talk a bit too slow, stare a little too long, and love a little too hard (I’m particularly thinking of songs “Roustabout” and “Big Bureau Blues” here). The album has the drama of a cinematic experience, something I wholeheartedly attribute to the chemistry between its sole members Kaitlin Milroy and Alex Millaire. Their uncanny ability to banter back and forth with a sort of playful, dramatic edge before seamlessly marrying their voices with such captivating tenderness and sincerity speaks to their success as partners, in and out of the industry. As a married couple making music together, there is a sort of intimacy necessarily afforded to the listener that sometimes clouds our perception of how much hard work goes into appearing effortlessly in sync.
I reached out to chat with Moonfruits a few weeks back, knowing they were back in town after an extensive BC tour and they were kind enough to answer a slew of my questions, most of which were specifically about how their working relationship has evolved over the years, as well as how the relationship between their music and their audience has changed. Below you can read our correspondence in its entirety.
How has your dynamic as a duo changed over the years? Your sound? Your songwriting? How has it evolved?
We started off as a very bare bones street duo with just one beat up guitar, our two voices and a mittful of shakers. In order to make ourselves heard over traffic, footfalls, and sometimes other performers who played amplified in the street, a lot of our first tunes were pretty loud and percussive. As we started building a following, gigging indoors (!) and, especially, playing to more listening audiences, we sought more subtlety and intimacy in both our sound and message.
With our second record, Ste-Quequepart—an entirely French-language album—and over a hundred shows across Canada to all kinds of folks, bilingual storytelling is another dimension that has opened really itself up to us. More on that later! As well, we both learned new instruments for this album, banjo for Alex, and glockenspiel, tambourine and kalimba for Kait. Now that we’re back home, we’re turning our attention to writing and recording again, (and spending time with Sully the cat). We’re excited to see where the music and live show go!
Are solo projects out of the question? Are you working on a new album?
We’re really hitting our stride as Moonfruits and have so much we’d like to say and do through our music and performances that neither of us have really considered any solo projects per se. One thing that’s for sure is that we have a wealth of material we’re planning to record with more tunes, stories, and ideas always coming out.
How was your BC tour? What are the challenges of touring? Where would you like to tour next?
Though we had performed a couple isolated shows in BC last year, this first proper tour of Vancouver and Vancouver Island with Sarah Osborne was downright magical. Coming from Ontario, it’s sometimes hard to believe how majestic and imposing the Rockies are. We’d be walking down a little Victorian street in Nanaimo or Courtenay and have our breath taken away by the sight of them, while the folks from there would just kind of walk on and give us a funny look. They’re obviously quite used to them.
The people we met were all extremely welcoming and eager to share all that BC has to offer, which in our case meant amazing veggie-burgers, badass coffee, purple gin, seaweed–no coincidence that the highlights are largely food-dominated … we love food! And music and artists (of which there is a seemingly infinite amount in BC) that we absolutely need to check out.
We felt an instant connection with Sarah Osborne–we had only shared the stage once with her in Ottawa this past December–and the tour quickly became a healing and cathartic time on the road despite a pretty hectic schedule.
The challenges of touring are also the best parts–it’s a question of learning to manage your energy, stay healthy and rested and on top of emails and promo, but also stay in the moment, stay inspired, connect with new audiences, meet other artists and have fun!
Touring plans are currently taking shape in the form of a bike-music tour of Ontario, an Artists On Board trip through VIA Rail’s awesome program, *fingers crossed* a first tour of Europe, and then an eventual release tour for the next album. Pretty exciting.
St. Quequepart, to me, is the perfect roadtrip album for the folk lover. What albums do you listen to on tour? Who are you current favourite Canadian folk musicians? Francophone folk musicians?
If we’re completely honest, we’re pretty boring people and get a lot of our mojo and new musical ideas from silence. The road is also when and where we get a lot of our thinking, imagining, and planning for the future done, and, for us, that often needs large tracts of silence as fertile ground.
That being said, when we need some tunes, we often turn to one of our absolute favourite bands on the planet, Du Bartàs, from France. The five members play cuatro, accordion, asian violin and a tickle trunk’s worth of percussion instruments, and sing in Occitan (a branch of Latin that’s a close cousin to Catalan) and Arabic.
We saw them perform by chance on our first busking trip in Europe as a band–incidentally it was also shortly after we got engaged–and were immediately hooked as much by their political messages, as their crunchy harmonies as use of rhythm.
From participating in a few years of Folk Music Ontario conferences, we literally have a box of new Canadian music–tant en français qu’en anglais–we chip away at listening to while we’re on the road, but a few faves are our dear friends, Georgian Bay, Leif Vollebekk, Kyra Shaughnessy and The Ramblin’ Valley Band. Spoon, Fleet Foxes, Kaia Kater, Earth, Wind & Fire, Radiohead, and Sigur Rós are also never too far behind.
What kind of response do you get from your bilingual fans? Your francophone fans? Your anglophone fans? How does the response change from across Canada?
We’ve found that the response between francophones, anglophones, franco-curieux and plain old music lovers is pretty well the same the country over. We feel that the music behind the tunes translates their meaning well enough that even if a language isn’t spoken, it’s felt. Bringing in storytelling from the imaginary village of Ste-Quequepart has infused the performances with a lot of humour and, we find, gives an emotional arc to the set that really allows us and the public to create this imaginary world together–one that we’re always adapting and improvising around depending on where we are.
The choice to be visible, as well as audible, is always a little political, which has always been a sort of pillar of folk music. Do you feel the pressure from anglophone institutions to be ‘more accessible’ to anglophones? What do you think can be done by the anglo music community to be more inclusive of francophone musicians and francophone listeners?
To be fair, because French is a minority language in Canada–though it is extremely well supported compared to other languages spoken across the country–we’ve more so had the experience of institutions having those kinds of demands on the French side of things. If we’re performing for an institution whose mandate is to defend la cause francophone, often times our contract will be so explicit as to specify a percentage of the number of songs that must be in French and will occasionally specify that we need to address our public in French between songs. Arts granting bodies often have similar formulaic approaches to cultural support and development.
We love French, we love performing in French and we’re quite happy to do as we’re asked, but while this kind of approach jives with organizational mandates, it fails to jive with our artistic expression as a bilingual band. We want to play for music lovers of all sorts and to do that we want to create a space for audiences to discover something new, musically and linguistically. Linguistic plurality suits us better. On the flip side, because English so dominates the industry in Canada as a whole, in order to reach the broadest audience, your show and your music needs to be accessible to them. There are no formal requests because English is the default.
As a side note, our dear friends in Georgian Bay regularly write tunes that seamlessly incorporate French and English in the same song. That’s something that peeks our interest, and we’d love to attempt it. It flies in the face of this notion of language purity and it makes for beautiful poetry.
If we have a comment for our hometown, Ottawa, it’s that it would be wonderful to see a bar or venue openly welcome francophone, bilingual and franco-curieux performers and audiences alike. At present, there isn’t a spot that comes to mind–that isn’t North of the Outaouais river–that offers that kind of an atmosphere.
Where can we see Moonfruits next? Any new, exciting projects coming up?
There are a few very exciting things on the horizon for us!
On May 14th we launched a music video for our song “Le Maire,” pulled from Ste-Quequepart. It was shot at one of our favourite bars, Belmont, in our very own neighbourhood of Old Ottawa South with 30 of our fans, friends, and neighbours who kindly stood in as villagers from Ste-Quequepart (Alex’s dad even dressed up like the priest!). Andrew Robillard was our videographer, Don Charette of Naskigo Productions produced the video (he also produced our album Ste-Quequepart), local players of renown Don Cummings, Michel Delage, and Toby Meis played the house band, and it also incorporates drawings by France’s O’lee Graphiste. All in all, we’re pretty stoked to share it with folks!
Friday of this week, on May 18th, we’re excited to be performing with Montreal-based folk-rock collective Cheshire Carr at the Blacksheep Inn in Wakefield.
On June 8th, we’re playing an afternoon show for the Festival Folk et guitares d’Aylmer and, on June 23rd, we have the amazing opportunity of playing a joint concert at the Francofest de Hamilton with the Ottawa-based hip-hop artist and L’Armure du Son owner-operator Le R Premier, Hamilton-based DJ Unpier, Toronto beatmaker Kenan Belzner and members of the Hamilton Philharmonic Orchestra.
Ommie Jane is an Ottawa-based musician and writer for publications such as Ottawa Showbox and Ottawa Beat. She also runs the Ottawa Alt-Country Folk & Blues Facebook page, and occasionally promotes concerts through that name.
Ottawa indie-folk rockers Amos the Transparent are celebrating 10 years as a band with the release of their new album Anniversaries Saturday night at The 27 Club. And why not celebrate the occasion with some delicious craft beer? Music and beer go together like wine and cheese. The band has collaborated with Big Rig Brewery to release a special limited run of Amos Anniversaries beer—a 5.2% pilsener that will please the palate for many.
A decade and four albums later, Amos the Transparent have cemented themselves as a quintessential folk-canadiana. They have performed at RBC Ottawa Bluesfest, CityFolk, SXSW, WayHome, The Strombo Show, CBC’s Q, and even the Big Sound Festival in Australia. They’ve also hosted an annual holiday show around Christmas time that always sells out. Needless to say, Ottawa loves Amos.
I caught up with lead vocalist and guitarist Jonathan Chandler to talk about the band’s longevity and the new album. Have a read below.
Amos the Transparent releases Anniversaries Saturday, May 12 at The 27 Club along with another veteran Ottawa group who have gotten back together for a few one-offs—The Love Machine—as well as Rumfit Mosey. Ticket and show information can be found here. Upcoming shows:
May 12 — The Ottawa 27 Club
June 21 — Ottawa Dragonboat Festival
July 8 — RBC Bluesfest
August 25 — Neat Café (Burnstown)
Interview with Jonathan Chandler of Amos the Transparent
This band has been together for 10 years now, which is much longer than most. What is the glue that has kept Amos around until now?
JC: Honestly, the fact that we are indeed friends has kept it fresh over the years. Because we genuinely like each other, I think that creates an open space for everyone to feel valued and feel free to discuss concerns or ideas. A band is indeed a relationship—a big complex family relationship—and just like a regular one, you need to work at it.
How have families, new business ventures (like Shoebox Recording Studio) and the passage of time affected how Amos approaches writing music?
JC: Scheduling has never really been an easy task with this band and it’s numbers but with growing families and big boy (and girl) careers, the windows become even smaller so that element of compromise and understanding has to be pretty strong. That said, we have our regular scheduled time that we meet weekly and everyone knows that that time is precious so we use it to the best of our abilities. Be that writing, rehearsing or just having everyone present to chat about concepts or ideas.
The band collaborated with Big Rig Brewery to make an Anniversaries beer. What is that about, and how did this partnership come together?
JC: Last summer Chris ended up running into Big Rig’s Brew Master Lon and Chris Phillips and they ended up, you know, sharing compliments about each others ventures. The idea of celebrating the 10-year milestone with a record came up and Lon expressed interest in helping out in any way he could, because, you know he’s a gem. Fast forward many months and we reached out to Big Rig and the plan of launching the Pilsner together was put in action. We’re really stoked about it—the beer is awesome and it’s just a cool piece of memorability to hang on to.
Is there anything you can think back and laugh about now when looking at yourself in your early 20’s being in a band?
JC: I laugh at the idea that I once thought we could take a 9 piece band on the road. Mind you when this band started, I wasn’t a newb to touring but my expertise was definitely not… seasoned. There are photos of us playing NXNE or festivals of the likely with trumpets and a line of singers… just absurd.
The new album explores many sounds and textures, keeping listeners engaged throughout. Can you talk about a common theme or meaning behind ‘Anniversaries?’
JC: From a writing perspective, these songs span a couple years. When I listen to the finalized album, I listen to the music and arrangements that we made as a collective, as opposed to the lyrics. I feel that musically speaking, the band is at its best and most comfortable right now and it shows with what we’ve made here, as a collective. I’ve always found myself struggling a bit with lyrics, trying to not sound redundant or foolish (which I know I’ve missed a couple times!). Regardless, there are many songs here about reflection and acceptance and I do feel that some of the words are among those I’m most proud of.
It seems like the band is still having fun. Does this mean we’ll get another anniversary in 10 years from now?
JC: I think we’ve explored the option of calling it quits enough times that we know where we end up at the end of that conversation—making another record! So, as long as folks might be interested in hearing new songs, I’m pretty sure we’ll supply some in one way or another.
Last year around this time, Vancity folk troubadours The Long War were crowned victors of the CBC Searchlight competition. Since going far with their track “Breath In Breath Out,” which they won the contest and made CBC Music’s Top 100 songs of 2017, the band has taken things to a new level. Not only did they write their debut full-length, Landscapes, but they’re also embarking on twenty Canadian tour dates and bringing their songs to audiences across the country.
Their album Landscapes is true modern Canadiana, containing songs that pay tribute to the land and provide a soundtrack to the painted memories of Canadian scenery in our minds. Songwriter and lead vocalist Jarrett Lee draws upon his own experiences with the landscapes and environments that influenced him throughout his life and channel those into his music. The band transforms Lee’s powerful lyrical imagery into beautiful harmonies and a lively experience for listeners, giving us a canvas on which to paint our own memories of Canada.
Last time we spoke, you were fresh off winning the 2017 CBC Searchlight competition and about to play the NAC. How was that experience?
JL: I still can’t believe we played the NAC, it’s such a reputable venue so many talented artists have performed on that stage. It was a special night and really summarized the whole Searchlight experience. We were joined by the other finalists The Wolfe, Jaryd Stanley and Will. Royal Wood hosted the night and played a song with us. The place was full of family, friends and fans. Chad and I spent a lot of time in Ottawa so returning to a city which was home for so long in that context, you really can’t ask for more.
Did you get to spend some extra time in Ottawa and reconnect with any of your old favourite places in town?
JL: Yes, I went to some local pubs checked out some live music in the Market said hi to some musician pals. Went a to a brewery, had a burger at Chez Lucien, went back to Fresco on Elgin where I used to host an open mic. Chad used to work the bar at Café Nostalgica I think he popped his head in there. Ottawa has changed quite a bit, at least it seems that way after being away for so long. I feel at home there and always enjoy coming back.
What have you been up to since the summer of 2017?
JL: We’ve been putting all our focus on our debut album Landscapes which was officially released on April 20th. Obviously we booked a pretty large cross Canada tour, we’re heading all the way to PEI playing over twenty shows, we’re back in Vancouver at The Biltmore May 31st. We have a music video coming out for the song Landscapes so keep a look out for that. It’s been pretty full on since last summer to be honest.
How was working with Kevin Dietz at the infamous Metalworks Studio to record your debut album Landscapes?
JL: Kevin is a brilliant, talented Producer and has a way of bringing out the best in people with his positivity and creative energy. You’re in the studio for hours upon hours daily and you hope that the person at the helm is at the very least a good hang. He made the album soar and I think the end result speaks to his talent and overall sonic vision combined with our desire to push ourselves and keep the music authentic and unique to our sound. He did a fantastic job and we can’t wait to work with him again in the future.
Many people know the single “Breathe In Breathe Out,” but what can fans expect for the rest of the album?
JL: The album has a bit of everything, from soaring folk rock ballads like our title track ‘Landscapes’ to acoustic vocal driven sing along songs that pull at the heart strings like ‘Downtime’. The album closes with a rock tune called ‘Lake Louise’ that has a strong Canadian music vibe but ends in a hooky pop chant. The album is very eclectic but the songs certainly live together.
What motivated you release Landscapes independently?
JL: We would love the opportunity to work with Management and when that day comes we’ll absolutely take that opportunity. We released ‘Landscapes’ independently because we didn’t really have an option. It’s a bit of a perception dilemma, while we did win Searchlight and that certainly gave us a lot of coverage very early in the bands existence, we however look at it as an opportunity. It’s up to us to make the best of this and while we’ve gained a lot traction and gotten The Long War name out there, we need to continue pushing on. Searchlight awarded us for example two days in Metal Works to record, we put the extra money and effort in parlaying that two days into eight and what would have been a song or two EP into a full length album. We take pride in how hard we work and that work ethic is synonymous in how we define The Long War.
Your currently on a 10 stop cross Canada tour that if I understand correctly you are booking yourself. How did the process of handling all your own booking go?
JL: We’re actually on a 20 stop cross Canada self booked tour. I handled most of the bookings myself with some help here and there from bandmates. We found it was best to keep each band member on top of one job while the other handles another and keep things streamlined to avoid any confusion with promoters. Booking the tour included scheduling, routing, money, support acts so it’s certainly a handful and a huge responsibility. But I learned a lot doing it, moving forward we’d love to look at working with a booking agency. But we booked some really great venues like The Blacksheep Inn, The Empire Theatre, The Carleton. We’re really excited about it.
Can you tell me a little bit about the two shows you are playing in the area, one at Pressed and one at the Blacksheep?
JL: We’re playing Pressed April 25th. It’s a newer venue at least since Chad and I lived in Ottawa but I’ve heard nothing but good things. Mountain Eyes and Rory Taillon are joining the bill for that one and I expect an intimate setting which is always nice. The Blacksheep is a legendary venue, I remember seeing Joel Plaskett play there and it was so engaging, the crowd was mesmerized. Again we’re being joined by Rory Taillon and Old Man Grant is on the bill. It’s a Saturday and we have a lot of friends and family taking part in that show, April 28th come say hi!
And for tradition sake, last time we asked you about the when the Vancouver Canucks will win the cup, this time I ask what would you call a tribute song written about the Sedin twins who recently announced their retirement?
Ottawa’s Fools of Love have been hard at work on their first full-length album scheduled for release this summer.
The rocking three-piece have changed their names, changed their line-up, powered through having their lead-singer and guitarist living in Toronto while the other two members live in Ottawa and followed up one of my favourite releases from 2015 with a solid new track “Heavy Head.”
We spoke with lead-singer and guitarist Adam Feibel about all that and are premiering “Heavy Head” below. So sink your teeth into their rocking new song in anticipation of the upcoming full-length album while you read our discussion with Adam.
Let us start with the new name, what drove the switch to Fools of Love?
Trademark law, really. There’s another currently active band that has the rights to our former name, so it was safer to change it to avoid running into problems.
You moved to Toronto but the band is still Ottawa-based. How do you manage this? And are there any advantages you see to having the band in two cities?
It’s not easy. I’ve spent a lot of time on the train and the 401. We get together as much as possible and make the most of that time. But we each have a lot going on in our lives individually, so we try not to put too much pressure on ourselves. Now that we’ve finished this record, the hardest part is out of the way–now it’s really just about playing wherever and whenever we have the opportunity. And it’s a nice perk that whenever we play a show in the GTA, we have a place to stay.
Tell me about the switch from a four-piece to a three-piece.
We actually started as a trio. Only three of us recorded the EP. We’ve gone through a few member changes, so we were four for a while, but by the time we headed into the studio again we were back to three. But we’re planning to play live as a foursome.
What do you think is the biggest musical difference between that first release and your upcoming album The Howl and the Whisper?
I think it has a wider range of influences, but also a wider range of feeling. That first one big, loud, and fairly dark. We let a lot of light in for this one. It’s got a lot of heart. There’s more instrumentation–we added piano, organ, harmonica, cello, along with the usual stuff–and I wanted every song to have a big, memorable hook. You should definitely still play it loud.
What led you to this new sound?
That’s hard to say. When I start coming up with new material, it just comes out–any change is usually subconscious, or at least starts out that way. Personally, one thing I knew that I wanted was for it to have more depth. We left some stuff on the cutting-room floor that just didn’t have a place, usually because it was too one-dimensional or it didn’t match the feel. I looked at songs and artists that have stood the test of time and thought about why. What makes them timeless? I think a lot of it comes down to whether your song sounds good regardless of the arrangement–if you strip it to the bone, does it still sound great? That’s what I had in mind. We’d start with something simple and build it into something intricate and huge.
How was it to once again work with Cory Bergeron at Pebble Studios?
I can’t say enough about how much I’ve loved working with him. We would be doing marathon sessions and it didn’t seem to phase him. He’d just keep working his magic, suggesting great ideas, coaching us into our best performances. Working with a person for the second time, you’ve built a rapport and a chemistry. I felt understood. And he’s hungry to learn and try new things, which is crucial if you’re hoping to make something layered and unique. It was long, hard work but it was a lot of fun.
What’s the story behind your first single “Heavy Head” and why did you choose it?
This song started out of protest, since I’ve been pretty angry and despondent about a lot of things that have been going on around the world in the last few years and all the terrible people with black hearts that you have to hear about every day. But I learned pretty quickly that I’m not hardwired to write out of purely anger, so it turned into something else. I ended up writing it about good people who don’t know their own strength because they feel beaten down, or like they barely have a voice. It’s about showing that you believe in them. We need good people to lead the way. And so the song has some bite to it, some apprehension, but ultimately it’s got this big, uplifting chorus that really anchors the whole thing.
Do you have any shows or tours planned to celebrate the release?
We’re working on all that at the moment. We’ll have a couple album-release shows, for sure. And hopefully we’ll get out a lot more. I’m really excited for the record to come out, and to play these songs for as many people as we can.
Catriona Sturton is a household name in Canadian music and beyond—her masterful blues guitar and harmonica stylings combined with her angelic sweetness are the trappings of a true musical powerhouse, a fact undeniably demonstrative in her live performances. Her songwriting, in juxtaposition to her inundated playing, is deliberate and subdued, yet both offer a sort of honest intimacy that rattles and soothes, an experience similar to getting socked in the gut while someone tenderly strokes your hair. It’s often too much for audiences’ hearts to handle and I’ve had the pleasure of bearing witness to that collective heartbreak on two separate occasions, with a third opportunity coming this Friday, April 13th at NAC Fourth Stage on a double bill with Alberta singer/songwriter, Liz Stevens.
This show will be markedly different than any previous iteration of her solo work in two signifanct ways; for the first time she will be backed by a band and, perhaps more startling, Sturton will be playing violin publicly, something she hasn’t done since she was a child. I spoke with her about what inspired these changes as well as what else she has planned for Friday evening.
Interview with Catriona Sturton
Can you tell me a little bit about your history with the violin and how you came to pick it up?
I played the violin for years as a kid. My grandfather was the local fiddler in the Irish village that my mum was from (he was also the seventh son of a seventh son!). I liked the idea of learning fiddle music as a kid but ended up taking classical violin lessons. I wasn’t a great student (ok, I was kind of terrible; I once showed up to a lesson with an empty violin case) but am now thankful that it gave me a good musical base. I used to think that I never fell in love with playing music ’til I discovered the harmonica, but I’m realizing now that I have really deep feelings for the violin.
What sparked the resurrgence?
I went on tour with The Noisy Locomotive and played with Trevor Pool and Ben Nesrallah, who accompanied me on violin on several songs. Since then, I knew there was something magical about the combination of violin and harmonica. I kept thinking I should find a violin player to tour with in the future, then one day I decided that I should try to play it myself.
What was the most challenging part?
My experience was that it wasn’t like riding a bike at all…. it felt like a very new instrument even though I had played it for a long time when I was younger it felt very new to pick it up again. Part of that was I had to hold it in a different way to be able to play harmonica at the same time. The fun part was that I kind of used the harmonica as a teacher to show me what I wanted to do on the violin. I do like a challenge though, so there is something grounding in being humbled.
Did you experience an awakening of sorts?
Last year I went to learn Irish music from my uncle and it made me really wonder why I hadn’t tried to learn some sooner. At that time I was playing songs on the diatonic harmonica and he also gave me an accordion. But starting violin made me feel really strongly and deeply that I should be connecting more with this side of my family’s musical heritage.
Do you feel vulnerable without your guitar?
Very much so!!!!
You’re working with drummer Ben Deinstadt and bassist Kristy Nease now, a departure from your usual solo performances. What brought you all together and how did you manage to find cohesion as artists?
I have been working as a one person band for 5 years. While working on arranging my songs, it became apparent that some of them have pretty idiosyncratic structures, which kind of explains why it was sometimes hard for me to explain what I wanted from other musicians in the past. I met Ben Deinstadt through GINNY’s Lesley Marshall and had heard he was interested in touring. When we started to get together to play music it was just for fun and we became good friends in the process. I was really impressed with how much attention he would put into learning little details and arrangements for the songs and I also loved how some of the parts he came up with weren’t what you’d expect at first but fit the songs in a way that it now feels weird for me to not hear them. And he helped me fix a bunch of my gear! He’s great! I think he’s a bit of a secret weapon, he said some people he knows don’t even know he plays the drums, but I can’t imagine that will be for long.
I have played with Kristy since I first started to seriously consider playing guitar and harmonica at the same time. She’s a real inspiration to me as a musician. One of the very first tours I did was with her, years ago, in Nova Scotia. She’s solid as a person and a bass player, and I feel very lucky that she can join us for this show. I think she’s in 5 bands at the moment, I’m not sure if this makes 6! I was standing next to her at a show and saw how intently she was watching the bands play and I didn’t even know if she played music, I just had a feeling based on how tuned in she was that she’d be great to play with. Years later she’s a great friend and I feel so comfortable playing with her.
I’ll also have Birdie Whyte and Sal Valley as special guests. They are two gems of songwriting in Ottawa and we’ve just started to play together, the three of us.
That sounds so incredibly special! I mean, though you live in Ottawa, we are rarely gifted with a chance to see you perform and it sounds like this Friday is going to be particularly incredible!
I try not to play in Ottawa too often, so that I have time to prepare and pull out all the stops when I do! This time I’ll have a Wheel of Fortune, made by Montreal artist Emily Comeau and props made of my art by Ottawa’s Kate Greenland (who performs as Mabel Beggs, solo and in Aiken and Beggs).
Not to mention the addition of Liz Stevens on the bill!
I can’t wait to hear Liz live. Her voice blows me away but I’ve only gotten to experience it on video and recorded. She has such a great ability to capture nuance and feeling. There is a video of her singing Wicked Game by Chris Isaak that is devestatingly moving.
You are also a visual artist, creating the most sunshiney of illustrations. Your smiling heart is almost a signature of sorts. You create artwork for others upon request seemingly just to brighten others days. What drives you to spread such positivity? Is it something you consciously curate or is it something you feel comes to you naturally?
It’s funny, when I first made a website my friend, Jason Cobill, who designed it, suggested I have my drawings on it. At the time I wasn’t sure how they fit with the music I was making. I write a lot of quiet and very moody songs. But the drawings I make definitely have a light and funny quality to them. I started making drawings online for people when I got a scholarship to an online group where my role was to be a cheerleader in exchange for doing the course for free. I really enjoyed tuning in to where someone was at and trying to see if I could draw something that would encourage them in that moment. I discovered an app I could colour in the drawings with and it all clicked for me. I started drawing more this year because after I got a concussion sound really bothered me and after months of laying pretty low I think I needed a creative outlet.
My favourite drawings to do by far have been for people by request, or when they ask for one for someone they care about so I’ve kept making more and more. It makes me happy to be able to do them and I feel lucky when I get to tune into people caring about each other. For example, parents might ask for one for their kids, or people will ask for their friends or partner. In the moment when I’m drawing I get to feel that love and it is really beautiful. I haven’t really considered myself to be an artist but I have started to get a number of commissions, which I really appreciate because it has really encouraged me. And I’m starting to make merch with my art. The first ones will be at this show, I have some pins.
You mentioned you had suffered a concussion that impacted your ability to play music. What was it like coming out of that? What have you learned from the adaption process?
I got rear ended this summer and hit my head on the steering wheel. It threw me for a big loop because one of the most difficult parts of it was that I became hypersensitive to sound, to the point that it made me nauseous. I had trouble if more than one conversation was happening at a time. And bright lights were too much. Basically everything that you have at a show I couldn’t handle. It was kind of heartbreaking because I had worked really hard for 5 years and was feeling like I was starting to build some momentum with my music career and then had to face not knowing what the process of recovery would look like. I had to lie in the dark with sunglasses on and my windows covered up.
The part that turned out to be the hardest for me was that my ability to read and respond to people was really affected. So, little things like talking to someone after a show was a huge challenge, let alone trying to talk to lots of people, which is actually a really big part of playing shows. The other thing that crept in later was that being rear ended made me feel cautious about driving, which is a huge part of touring. After moving through all kinds of challenges in the past few years and working really hard to keep unafraid and a positive attitude, I got kind of swamped.
One thing I realized throughout it all was that it is very scary to be vulnerable, and I think being kind of reduced in this way made me take more risks in writing songs that were more open about challenging times. And it made me want to move away from having a wall of sound that I had aspired to with a big amplifier, harmonica tone, and one-man-band posturing I used as a bit of a defense mechanism while touring solo. I mean, I still like to play loud at times! But it made me appreciate more how brave it can be to really open yourself up. In some ways I think I have started to connect with people on a deeper level after going through a few things and kind of having no choice but to reflect them in where I was at.
While difficult to comprehend how someone’s artistic well could possibly be mined deeper, the fact that someone so accomplished as Catriona continues to take artistic risks that bring us closer to her is a rare gift afforded to an audience: a gift you can receive this Friday evening if you believe in love and magic. Tickets are available a the NAC box office, or can be found online here.
Juno-award winning band Dear Rouge are in Ottawa supporting Lights tonight at Algonquin Commons Theatre, and it’s sure to be a fun weeknight on campus. The band released their second full-length album, Phases, last month, and are touring with Lights as a supporting act for a string of shows in 2018. After winning a Juno for breakthrough group of the year in 2016, Dear Rouge have their sights set high. I chatted with power couple Drew and Danielle McTaggart in advance of tonight’s show.
Tickets for tonight’s Ottawa show can be found here. Check out our rapid fire Q&A session below:
Rapid Fire with Dear Rouge
Q: If you had to choose any dream career outside of music, what would it be?
Drew: Vacation tester. I think my mom saw that on Oprah or something.
Danielle – Cirque de Soleil gymnast. One of the ones that does the scary tight rope.
Q: Favourite movie?
Danielle: Lord of the Rings Trilogy.
Drew: That’s three movies!
Matias: Technically, it’s kind of like one really long 11-hour long movie.
Danielle: Fine, I’ll say the Two Towers then!
Q: Any hobbies that most fans wouldn’t know about?
Drew: I like bridges. I don’t know how that’s a hobby, but I like them.
Danielle: Ok, I want to change my answer then. Bald eagles.
Q: Favourite pizza toppings?
Drew: Ok, wait, then if I had to just have one topping on a pizza then I’d say cheese over pepperoni.
Q: Star Wars or Star Trek?
Drew: Star Wars.
Danielle: Star Wars, as of late. But I grew up on Star Trek. It was really hard for me when it switched. It was kind of sad, so now I like Star Wars better.
Q: Best Halloween costume growing up?
Drew: Ohhhh! Robin Hood. Because in my quiver I would be able to put all my candy.
Matias: That’s really, really smart.
Danielle: I think I was a cheerleader a couple times. Made my own pom poms.
Q: Place that you want to visit most, but haven’t yet.
Drew: South America. I’ve been to every other continent except South America and I really want to go there.
Danielle: Um, yeah. I was going to say that. But I’ll say Scotland. That would be cool.
There is a new band in town, partners, and they are full of alt-country, twang, and heartache.
GINNY is the latest band formed in the nation’s capital with members of a bunch of other great bands. Fronted by vocalist Lesley Marshall (Bonnie Doon), guitarist Catriona Sturton (ex-Plumbtree), and bassist Kristy Nease (Area Resident), GINNY’s haunting country styling arrives just in time as we flirt with the return of spring but keep being reminded of the harshness of winter.
GINNY’s first single, “Choose the Wrong Man,” is a slow-building little alt-country number about having bad luck in love. Have a listen below as Marshall’s ghostly vocals of country singers past shines over the band’s blues-tinged and rock-influenced country sound.
The band is poised to release their debut EP on Friday March 16th at The Concorde Motel in Ottawa, supported by The Railway Hotel and Ommie Jane (details here). We interviewed Marshall ahead of the show to get a better sense of how the band came to be and what to expect of this little known venue.
Ginny is quite a shift from your other project, Bonnie Doon. What attracted you to making country music?
I drifted towards country music in the last five years. I’ve always been a big fan of folk rock and folk music but I got really into classic country when I heard Loretta Lynn, Townes Van Zandt, and Patsy Cline. They were all singing from the heart in a way that really resonated with me.
We used a Patsy Cline song “Crazy” as a temp track in one of my first films and I began to sing it a karaoke, then I started to singing Dolly Parton’s “Nine to Five” and started to really see myself in that music. I had been writing a lot of sadder and melodramatic songs since high school on a tiny air organ and they didn’t fit into the party vibe of Bonnie Doon. I fell in love with some of the romanticism of country music and wanted to learn more.
Learning the history of racism and blues and the industry’s separation of the genres that exists today—interesting stuff, but yeah, it was the emotion that was coming out of my voice that led the way. I couldn’t describe it and, well, it was friends that said it was country. I was with DJ Lamb Rabbit one day too showing her my tracks and she showed me Mary Margaret O’Hara “Miss America” and was like— “did you know that this is what you’re doing?”
The band is somewhat of a local super-group, made up of Catriona Sturton and Kristy Nease (Area Resident). How did it come to be?
Oh my gosh. Yeah, well I am a lucky duck here. I had been spending time with Catriona and Kristy as they are buds and Kristy at the time was doing a lot of Gamelan Orchestra and Catriona was starting to tour on her own. I had told Catriona about some of my songs and she mentioned she wanted to tour in the southern states the following winter and visit her friends at Dollywood with another drummer friend from a Philadelphia band The Pretty Greens and asked if some of my songs would fit as an opening act. I am a person of the variety who says yes even if I am unsure—so I said yes! Being on tour is kind of my dream state, even though it is very hard.
All this to say, I had wanted to explore working on these songs and so I brought them to Kristy to help nail down the musical framework. Kristy is a a genius with the bass and percussion so she took the demos I made and we jammed them out to the songs they are today with Catriona coming on with those heavy blues guitar riffs. The first incarnation of the band was a drum machine, an air organ, Kristy on the bass and me singing through a 16mm projector. We later added a drummer to get that classic country feel. I had always intended the project to be a newer eerie kind of country, so this show at the Concorde will feature DJ Jas Nasty on the theremin.
A glimpse at the mysterious, seldom-used venue called The Concorde Motel. Photo taken from Facebook.
And how is it working with them on this project?
Working with Catriona and Kristy is a dream come true. Kristy has supreme work ethic and execution and Catriona is a wizard. She just kind of comes in and brings her ideas and flare with the her classic guitar sound. They both have such great taste and understanding of music it’s like breathing in and out. I feel like coming in with my voice, I have to bring a lot and do!
The release show is taking place at The Concorde Motel, quite an unusual and unknown venue to most. Can you tell us a little about it and why you chose it?
The Concorde Motel is just down the street from my partner’s house in Vanier so we started going for drinks there. The first time I walked in I was blown away by the absolute size and decor of the bar. It truly is a relic. Back in the 1970s and 80s it was one of the ‘go-to’ spots for country music as there were 6 active country clubs with live bands playing 7 days a week. Times sure have changed and they stayed open as a bar but stopped operating as a venue. Since the bid to change the whole block including the Motel into the controversial super shelter came around last year, we thought it would be a rare chance to have a show like this there.
What should people expect from the live performance on March 16?
March 16th is gonna be a full night of hanging out in the Concorde, people can play pool, and listen to the jukebox between bands and expect a whole night of great music from Ottawa Alt-Coutry Folk and Blues with Ommie Jane and The Railway Hotel opening up the night. GINNY has a full set and will be playing songs from our self-titled debut EP, but also songs on the air organ that couldn’t fit on the EP and guest performer and singer Matt Miwa will be adding his lounge singer-songwriter air.