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 veterans Amos the Transparent celebrate their 10-year anniversary as a band this year with the release of a brand new album—fittingly titled Anniversaries. They also collaborated with Big Rig Brewery to release a special limited edition pilsener to mark the occasion. You can read more about the album and special edition beer here.
Our photographer Aidan Thatcher was on-hand at a packed 27 Club to catch the action. Amos the Transparent were supported by Rumfit Mosely and The Love Machine. Check out the gallery below.
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.
Ottawa’s Rich Chris recently released his first full length solo album, Tales of Nostalgia.
The 14 acoustic tracks were recorded over the last four years while Rich Chris has been busy playing with countless other bands, most recently rocking out in Positive Charge.
From the 14-second intro track all the way through to the final song, which clocks in at over five minutes, Rich Chris has his heart on his sleeve, remnants of parties in his beard and stories to share. His punk rock roots certainly shine through in some of his strumming patterns, faster songs and vocals, but you can certainly can’t deny the folk influences and the ever present troubadour mentality emphasized with the harmonica. It is rather fascinating that an album which spans so many years—and consequently several important life changing moments and being mixed/mastered by different people in different places—can still feel as cohesive as it does.
My favourite thing about Tales of Nostalgia, and Rich Chris in general, is just how real and down to earth every song feels. He is not trying to paint the magnum opus. This is an album you can throw on and close your eyes and feel like Rich Chris is in your living room or around a fire performing for you and a bunch of your best friends about things you can all really relates with. As a life long resident of Ottawa, I’m also a sucker for songs that mention local landmarks and trigger fond memories from my past. Songs like “228” which chalked up full of trips down memory lane for me, that even if I didn’t know Rich Chris back then I feel like we had several similar experiences at parties and local watering holes like 1848 and Nostalgica during our university years.
Have a listen to Tales of Nostalgia below and kickback with the friend you never knew you had, or for those who know Rich Chris listen to your good buddy’s great work.
Last month, the City of Ottawa’s city council unanimously voted in favour of adopting the first-ever official music strategy in order to build a bigger, stronger music industry in the capital. The announcement is a major step towards establishing Ottawa as a ‘music city,’ and the strategy proposes a three-year plan to enhance the relationship between the city and the music scene so that the community at-large can benefit.
The impetus for the Ottawa Music Strategy was born out of 2015’s Connecting Ottawa Music report, which highlighted multiple strengths and opportunities is Ottawa’s current music landscape. Moreover, a recent Music Canada study suggested that benefits of strong local music ecosystem can include an increased economic impact, music tourism, city brand building, attracting and retaining talent and investment outside of the music industry, cultural development and artistic growth, and strengthening the social fabric.
However, these realizations are not without challenges. The Connecting Ottawa Music report also found that the region’s music industry faces some formidable obstacles, including a serious lack of certain types of music businesses and venues. Most of all, Ottawa’s music industry lacks connection to larger networks in music, business, and government.
The strategy sets out specific recommendations for the city and the music scene, all of which were decided upon by an independent task force of local music industry leaders. Phase one recommendations to be implemented in 2018 include: working towards the establishment of a music development officer; increased operational funding and support for the Ottawa Music Industry Coalition (OMIC); promotion of a music-friendly regulatory environment; promotion of safer music spaces; and the integration of music into future economic development and tourism strategies.
Looking at the strategy’s phase one recommendations—which I focus on because these are to be implemented first throughout 2018—here are some key considerations which should be taken into account moving forward.
The city must trust community leaders to drive change.
The spirit of the strategy is collaborative—in theory. However, whenever dealing with large bureaucratic entities, community leaders are often given the back seat to those working at City Hall. If the strategy is to succeed, the city has to allow the community to drive change. There are regulatory problems that are currently plaguing Ottawa’s progress in growing as a music city, and in order to move forward we must first deal with those first.
The example mentioned in the strategy is the creation of “loading zones” for bands at venues. This is certainly worth looking at, but it goes beyond that. Creating a positive working relationship with By-law is a major goal, and issues such as postering board regulations, noise enforcement, busking red tape, and many more, require serious examination.
The reality is that when it comes to organizing music events, consulting on music-related policies and by-laws, promoting cultural events, community members do it best. The city has many resources and may be able to help in a supportive manner, but if we are to affect meaningful change with current problems, the people who have ground-level expertise need to be given the power to steer the ship.
The Creeps playing at a packed House of TARG in April 2018.
The Music Officer must exhibit expertise and autonomy.
A key recommendation for the city was the creation of a full-time Music Development Officer position by 2020. According to the strategy, the officer must have “extensive knowledge of local music and the broader industry with the ability to navigate City Hall” that will work as a liaison between the city and the industry group (OMIC).
If done right, this recommendation could be hugely beneficial to both the city and music community. Bridging the gap between the two could mean effective and efficient music-related policy development and execution. With an extensive laundry list of tasks and responsibilities noted in the strategy—not least of which are implementation of the strategy and leading ongoing collaboration between the industry and city—this is a big mountain to climb.
The Music Officer must be someone who has an extensive knowledge of the local music community, and understands the ins and outs of the larger music industry. Their tact when dealing with difficult issues, regulations, and diverging interests and opinions, is going to be paramount.
While this position will be funded by the city, the Music Officer must be given a degree of autonomy to carry out their role effectively. Whoever fills this role will be entrusted by the community to relay their interests to the city, and spearhead the implementation of these ideas laid out in the strategy. If the city has a heavy hand in directing the Music Officer, the position could become a farce, with trust diminishing over time. A fair, independent, and collaborative Music Officer will have the biggest impact.
Funding must target all corners of the local industry.
With respect to funding, the strategy recommends multi-year operational investment for OMIC. The Task Force recommended that the city invest $100,000 annually over three years to support OMIC in the implementation of the strategy. This funding is crucial, but equally important is where else money will be directed.
Although the creation of an Ottawa Music Development Fund (OMDF) is a phase two recommendation (2019-2020), short-term strategic investments into music industry will help to bolster and enrich the local music ecosystem in Ottawa. When we think of funding for music, most of us think of money invested in musicians for making albums or going on tour. But funding in other areas of the music scene should also be prioritized. Money must be earmarked for music companies, promoters, not-for-profit music organizations, and other grassroots initiatives that normally run with little or no budget.
If the city wants to see tangible benefits and change in the long-term, it must start investing in the community immediately. Passion can only take us so far. Organizers and leaders in the community need funding to fully realize their visions, which will ultimately lead to more activity, more money to artists, and greater cultural participation overall.
Focusing on diversity and safety in music spaces is paramount.
Last, but certainly not least, taking a collaborative and community-led approach to safety and diversity in the music scene is critical. Creating a certification process for safe venues would undoubtedly set a tone at events and spaces. Zero tolerance for sexual and physical violence, racism, homophobia and transphobia, and so on, must be promoted and enforced across the board. This would lead to a more vibrant, inclusive, and participatory music scene that is risk-averse.
While we still have a long way to go, Ottawa could become a global leader on this front. Having the city and community work together to protect individuals—particularly those who are marginalized, and therefore most at risk—could be seen as an functional model to be used elsewhere.
Ottawa is beginning its journey towards becoming a music city, but there will be bumps along the way. If we can learn from the mistakes of the past and maintain a sense of collaboration, we may be able to empower the music community to transform the cultural and economic face of Ottawa for the better.
Ottawa punk rock veterans The Creeps are back, releasing their first album since 2014’s masterpiece Eulogies on May 4th. Formed in 1999, The Creeps are by far one of the capital’s most accomplished and appreciated punk bands. I should also add that personally, Eulogies is my favourite record released by an Ottawa band. So what could we expect from a new album? How would new material measure up to the immensity that was Eulogies.
Well, fear not. The Creeps have spent years playing shows, touring, and continue to have fun doing it. Sure, they may no longer be teenagers, plus there are a few kids and grey beard hairs in the mix now, but that hasn’t changed the fact that this band knows how to write damn good albums—front to back.
Beneath the Pines is an 11-track offering, and it’s packed with goodies. The group has taken a new direction on this record, one they have never taken before. Traditionally The Creeps have written crunchy, uptempo, and in your face pop-punk that many of us have come to know and love. Skottie’s soaring melodies always rode the over-driven tones of his guitar, carried by Ian’s flurry of bass notes and Jordy’s percussive onslaught. Moreover, their music usually uses disturbing imagery to touch on themes such as death and suicide, and other things that are generally…creepy. These are staple characteristics of The Creeps, and the band actually released Old Crimes: Singles Collection 2009-2013in April of 2018 in advance of the release of the new album, and one listen through this collection will give listeners a great sense of how the band approached music in the past.
The Creeps’ new album Beneath the Pines will be available on vinyl May 4th. Photo taken from Facebook.
But Beneath the Pines is a departure from what The Creeps have done before. To call this album “slower” than its predecessors would be selling it short, and imply that it doesn’t have the same grit—that just isn’t true. While the band moves away from the darker themes that they faithfully pursued in the past, Skottie’s irresistible vocals and lyrical phrasing and the group’s catchy buildups to epic choruses are what weathered fans will recognize instantly, and fall in love with. The compositions are recognizably The Creeps, but the band experiments with different tempos, guitar tones, and a more open sound.
Songs such as “Bottom of Things”, “Scared”, and “In My Mind” are all more restrained instrumentally than most of us are used to. However, that doesn’t take away from the tracks, as Skottie’s vocals come through much clearer, with slight reverb, giving a lot of depth to the melodies he and the band weave. It is pop punk taken to another level, illustrating the maturation of a band that started as kids, now translating their ideas through the lens of adulthood. Old fans who have grown with The Creeps will almost certainly love the direction Beneath the Pines takes, and new listeners will surely fall into this album and appreciate its subtle intricacies.
What’s a better party than a bush bash party? Arboretum Festival has re-imagined the seventh edition of the festival as BON-FIRE, happening August 17-18 at Rideau Pines Farm just outside Ottawa in North Gower.
So, what exactly is BON-FIRE? BON-FIRE is an end-of-summer weekend party featuring groundbreaking independent music and dance parties, fueled by feasts of regional food and drink. It is the full vision of Arboretum Festival realized, and this fun at the farm arguably features the festival’s best lineup to date.
Arboretum’s roots as a one-of-a-kind boutique music festival in the capital followed the spirit of other small-scale indie fests across the country, such as Sappyfest, Hillside Festival, and Camp Wavelength. Over the years, the festival has evolved in its programming, physical space, and overall experience for fest-goers. This year, BON-FIRE is sure to feature everything that we love about Arboretum Festival and more.
“There are limits to what we could do downtown. We wanted to throw the weekend bush party you’d hear about Monday morning at your high school locker, ” says Rolf Klausener, Creative Director.
Attendees will feast all weekend long at the festival’s expanded food court. Supplied by Rideau Pines Farm produce, Ottawa’s most trusted cooks and restaurants will showcase a mouth-watering array of food, and attendees will also be able to pick their own fresh produce from the farm fields.
“Being at Rideau Pines last summer, our original vision for the festival came together. But we also felt like we’d given birth to a new baby. The name BON-FIRE captures everything we were trying to manifest with our summer event, both intimate and familiar,” says Stéfanie Power, Managing Director.
Le1f lights up the stage at Arboretum Festival 2017. Photo by Els Durnford.
BON-FIRE lineup goes big
Arboretum is pulling no punches this year, as headliners include by Montreal’s legendary electro-punks Wolf Parade, Kaytranada collaborator Shay Lia, Calgary psych veteran Chad Vangaalen, Polaris-shortlisted dance queen Jesse Lanza, and art-folk visionary Jennifer Castle. Needless to say, there will be no shortage of BON-FIRE party material August 17-18.
WOLF PARADE (Montreal, QC) | CHAD VANGAALEN (Calgary, AB) | JESSY LANZA (Hamilton, ON) | SHAY LIA (Montreal, QC) | BAMBII (Toronto, ON) | JENNIFER CASTLE (Toronto ON) | CASPER SKULLS (Toronto, ON) | BONJAY (Toronto, ON) | CORRIDOR (Montreal, QC) | WITCH PROPHET (Toronto, ON) | BONNIE DOON (Ottawa, ON) | MAUNO (Halifax/Montreal) | ANSLEY SIMPSON (Peterborough, ON) | NAPSTER VERTIGO (Montreal, QC) | CONSTRUCTION AND DESTRUCTION (Halifax, NS) | SHAQ FRANCE (Ottawa, ON) | CHIPPY NONSTOP (Toronto, ON) | HEAVY MEDICINE BAND (Ottawa, ON)
Early bird weekend passes are available for $50 on Ticketfly.com and include return shuttle bus transportation from the downtown core. Day passes, schedule, and food program will be announced in June. Facebook event here.