Rose Cousins experiences life as a human. The east coast roots-balladeer dreams big, and writes big. Armed with a dynamic set of pipes, Cousins distils our species’ grandest themes into dreamy vignettes that seamlessly pivot from whisper-quiet confessionals, to titanic pronouncements.
Despite years of critical and industry acclaim, Cousins re-jigged her priorities at the end 2013. She spent some time travelling, songwriting in meccas like LA and Nashville, and got back into photography, spending hours printing in NSCAD’s dark rooms.
Last year she returned with “Natural Conclusion”, a candle-lit, epsom bath of emotive balladry. Lyrically impressionistic, she’s leaves the metaphorical heavy-lifting up to the listener. Minimalist song titles like “Freedom”, “Chosen”, “Grace”, harken to a simpler time in pop music, when a creep was a “Creep”, hurt was “Hurt”, and songs about spoon men were called “Spoonman”.
Rolf Klausener: Dream gig to open-up for? Rose Cousins: Sting, but only if I got to meet him. I’d like KD Lang, Bonnie Raitt and Adele’s audiences to adopt me.
That’s incredibly fair. Who’s your dream opening act? Drake
Heavy. I’d love to see that with my human eyes. What’s your favourite venue in Canada? This is where I say the NAC right?
Only if you mean it with your physical heart. Do you associate Ottawa with the National Arts Centre, or as having its own scene? When I started, my “Ottawa” experience was playing the Blacksheep Inn. It associated Ottawa with some of the best fans and listening audiences. Since the NAC’s program to develop new artists has been in play, it’s expanded my experience of growth as an artist and expanded the experience an audience can have of a variety of shows. It’s an opportunity I deeply appreciate.
With that, what significance does playing the NAC hold for you? It’s an opportunity to expand the idea of a show to reach new heights. Filling a grander space, not necessarily with more sound but with more ideas. This time, I’ll be bringing a string quartet along with my band.
Who doesn’t love strings!? Do you think performing arts centres like the NAC are the right place for contemporary popular music like trap or drone-metal? It makes perfect sense that the National Arts Centre would be a good place and presenter of our diverse Canadian talent.
It really does. How did the experience of writing-on-assignment in Nashville and LA affect your approach to the songs that followed? It has only broadened my skills. I adjust my approach based on what the song is for, especially if I’m writing to a brief; but, my experience as a human will always inform the way I write no matter what it’s for.
Humanity is vital. Since the early 2000’s, there’s been a marked shift in attitudes towards song placement in film and tv. For writers with solid publishing deals, syncs are an essential part of their financial sustainability. How has that shift in attitudes affected your process as a songwriter? Luckily, there will always be death, birth and breakups in Film and TV, so I don’t have to do much shifting as a songwriter. Songs in movies have always been my favourite. So, my existing tendencies lend to this shift in revenue streams.
Flexibility is key! So, how do you separate the “songwriting for me” Rose, from the “I’m gonna nail this sync” Rose? I don’t.
With the snow lightly descending on the nation’s capital, the NAC’s Fourth Stage was a perfect setting for a Friday night Megaphono showcase featuring Trails, Luka, and Keturah Johnson.
This was my first time at the Fourth Stage in a long while, and what a beautiful room it is. It really helps create a very intimate setting for a performance, especially when it is a sold out standing room only show like this one.
Trails performing on the Fourth Stage of the NAC during Megaphono 2018 in Ottawa.
Headlining the night was Ottawa’s Allie O’Manique, better known to most as Trails. In just a few years she has really gained a lot of momentum in Ottawa as one of the truly up and coming artists in town. Now you may find it hard to call someone up and coming when they have already opened for Andy Shauf in the UK, but Trails stills feels so new and fresh to me. She has so much potential, which in itself is pretty scary but mostly exciting.
O’Manique certainly knows how to turn on an eerie haunting edge to her vocals which melds perfectly with the instrumentation of the backing band on this night, Especially on songs like -“Mourning/moaning/morning/snowing ” from her debut full length album The Past Is Coming Fast. Of course, it certainly doesn’t hurt to have local musician extraordinaires—Philippe Charbonneau, Pascal Oflaki, and Jamieson Mackay—as support on stage.
While much of the music has a much more mellow and psyche feeling to it which can both serenade you to sleep or ease you into deep meditation, the band did switch things up a little on one song. The rowdier jam was maybe a little too much for them though, as guitarist Jamieson Mackay blew a string. Like a true champion he powered through. However, there was a moment of worry when he told the crowd he might not be able to play the “sweet lick” at the end of their powerful finale “Leave Her Be.” Luckily for us, he found a way and capped off the absolutely song which she wrote and arranged with Jonas Bonnetta of Evening Hymns, and really shows the growth and immense potential for more.
Luka impressing the NAC crowd at Megaphono. Photo by Els Durnford.
Setting up Trails’ set was poet and crooner Luka Kuplowsky and a group of smooth rock n roller from Toronto who perform as Luka. Kuplowsky, rocking an acoustic guitar with no strap, reminds me of early Lou Reed in how he almost speaks over the music more than singing most of the time and delivers poetry with the upward intonation in his voice at the end of his lines. I was immediately hooked from the first song “City By My Window” to the amazing closing track “O My Heart Is Full” which is a near perfect song in my opinion, have a listen.
If the singer’s smooth stylings weren’t enough, he is surrounded by very talented musicians, including an extremely entertaining drummer and a dynamic flutist—yes, a flutist. I believe there were more flute solos in the performance than guitar solos, which is not something you see every day. One of my favourite songs from the night was “Quick Reflex” off his latest album What Kind of Animal, which tells the story of a hand-me-down baseball cap with a beautiful melody and finishing with a roaring crescendo in the live performance. This was just one of many very impressive moments of pure chaos with the soft vocals, off beat drumming, rapid guitar and bass strumming and racing the flute that really took the performance to the next level.
Keturah Johnson serendating the NAC crowd during Megaphono. Photo by Els Durnford.
Opening the night was another stellar local performer, Keturah Johnson, who on this night was flying solo and without her The Heavy Medicine Band companions. Johnson is absolutely masterful at looping her own guitar and incredible vocals, then playing and singing over those loops. It had my jaw dropping right away. Johnson’s vocals are so powerful and filled with passion and sometimes darkness that there are moments that make your spine tingle.
Her solo performances takes the time to fully craft the song, but the end result is beautifully layered beyond any a regular solo performance delivers, and the process is like watching someone play a bunch of smaller tracks that perfectly fit together. It is comparable to watching and old-school DJ craft a mix on vinyl from scratch, except this is being performed with very different instruments. And Johnson has no fear of the sounds of the classics even with the “modern” looping technology songs like her finisher “Conduit” shine on her influences like Pink Floyd in all the right ways.
In 2007, a passion for music and dedication to female empowerment spurred the creation of Ottawa Rock Camp for Girls—a weekend of music instruction for teens and young adults. Ten years later, Girls+ Rock Ottawa is a multi-faceted organization with programs for girls, women, and non-binary youth to learn and experience music in a welcoming space. This November, Girls+ held their eleventh rock camp, showcasing tremendous growth and confidence in Ottawa’s women+ music community at the newly-renovated National Arts Centre.
Despite its recent success, Girls+ Rock is still a small, non-profit organization ran completely by local volunteers. Bianca Oran, a member of the organization’s Board, is a non-profit professional with a passion for music and development. She left a career in the music industry to work on sponsorships for the Ottawa Mission, and joined Girls+ a year ago to assist with on partnerships and communication. “It married my love of music with my day job and what I was already doing,” she says. “Music has been a huge part of my life for most of my life. I thought this would be a really good organization to get involved with in any way.”
“Since I’ve been there, it’s evolved a bit,” she says. This spring, the organization changed its name from Ottawa Rock Camp for Girls to Girls+ Rock Ottawa. “That’s because we’re more than just a once a year camp,” she explains. “We do workshops throughout the year, we have a drop-in jam space where alumni can come and practice. We provide that access space for them.” In addition to their new programming, the organization expanded to an older audience, hosting its first Rock Camp for Women+ this summer. The inaugural project was a huge success, proving a desire for welcoming music programs and communities in the city.
In the past year, Girls+ has also received an influx of funding, allowing the organization to pursue its new projects. They recently received just under $24, 000 granted from TD. “For a little organization like ours, to have that support is huge,” says Oran. The funding allowed them to purchase brand new instruments for their camps and jam sessions, providing for new and returning artists. “We purchased a lot of the instruments from local music shops,” says Oran, “so we put the money back into the community.”
The recent funding has been continued with the help of The J.S. Belleau Fund, which was established this summer. The fund was created after the passing of Jean-Sebastien Belleau, a young Ottawa local and active participant and friend of the city’s music community. “We were honoured and moved when J.S.’ family listed Girls+ Rock Ottawa as the recipient of all proceeds in his name,” says Tiffanie Tri, Chairperson and co-organizer of the camp. “We created the fund because we wanted to have a way to distinguish the funds that were donated in his memory. As in, have a way to track it and monitor its impact.”
Additional funds were also raised this summer at the I Love You J.S. Fest (ILYJS), a community festival and fundraiser hosted by Ottawa Showbox. Since his passing in March 2017, over $2,700 has been raised in J.S.’ name, and donations continue to roll in.
Girls+ has used the donations towards the the maintenance and upkeep of their new and growing inventory of musical instruments, “in order to sustain these investments, and to ensure that we can keep providing high quality instruments to anyone who wants to partake in our programming,” says Tri.
The new instruments were used this past month at the Girls+ Rock Camp, but the organization has more and much larger plans to use their new investments. Their main goal is to create a local music library for young musicians to borrow and rent instruments, following their mandate of providing access and resources to music in Ottawa.
In addition to their increasing funding and expanding projects, the organization has established partnerships with a variety of local businesses. Girls+ recently launched their own collection of merch, selling out of their first run at Victoire Boutique in Westboro West and online. The organization chose Victoire for its independent, local impact and dedication to ethical fashion. The new line (which includes t-shirts, sweatshirts and totes with handmade designs by local artists) marks a new beginning for Girls+, with a tangible showcase of identity, community and impact.
Girls+ is a unique non-profit made of young musicians, professionals, artists, and local supporters. The organization’s last year is proof of this, with its exponential growth and evolving identity. “We’re a community based organization that uses music to empower girls,” says Oran. “We have this flagship event, the camp, but we also want to create new partnerships in the community. We want to make sure were being as inclusive and diverse as possible.”
In the future, she hopes for a continuation of funding and community support. “How great would it be if we could take on more than 30 campers per year? Or if we could pay our volunteer teachers? We just don’t have the capacity or funding yet.”
Specifically, Oran is passionate about creating space and resources for women and girls interested in music. “It’d be great to have more support from the community, more spaces for alumni to host all-ages shows,” she says. Sustainability is important to Girls+, which inspired their jam sessions and women’s rock camp, so alumni can return to further improve their skills. Many have done so, with a handful of former students returning annually as teachers.
Ottawa is not an easy place to thrive as a young artist, especially as a young woman. Girls+ Rock’s mandate—to empower young girls and women through music—is evidently thriving and working to break down barriers for gender minorities. At November’s camp showcase, campers exuded a shared confidence and skill, nurtured through the program’s dedication to community. The programs offer an affordable, safe and inviting space for youth to pursue their passion.
From a $24,000 grant to community fundraising to multiple new programs, it’s been a massive year for Girls+ Rock Ottawa. Now, with secured funding and growing local partnerships, there’s no limit to the impact these young girls, women and local leaders can have in Ottawa’s music community.
If you’re a fan of Canadian music and follow CBC, you’ve probably heard of the CBC Searchlight contest. It’s a competition that attracts thousands of submissions from musicians across the country, and the search for the nation’s most talented undiscovered performers occurs over the course of several months. In its fifth year, CBC has partnered up with Canada Scene and the Banff Centre for Arts and Creativity in the annual competition.
The contest has wrapped up with Vancouver’s The Long War being crowned winners (and, coincidentally, also have an Ottawa connection). The west coast folk rockers took the prize with their song “Breathe In Breathe Out,” beating out singer-songwriter Jaryd Stanley, as well as Saskatchewan trio The Wolfe and hip hop/R&B phenom WILL, who moved to Canada from Trinidad and Tobago at the age of five.
The Long War are set to play their biggest stage yet, Ottawa’s newly-renovated National Arts Centre on July 2nd. The night will be hosted by Canadian songwriting staple Royal Wood, who worked with them during their residency at The Banff Centre, and will also feature exhilarating performances by the runners up.
I spoke with The Long War’s singer Jarrett Lee about the CBC Searchlight competition, and the road ahead. Read the interview and watch their performance of “Breathe In Breathe Out” below.
The CBC Searchlight Live! event will be held on Sunday, July 2nd at the National Arts Centre’s beautiful Babs Asper Theatre at 7 pm. Find ticket information and purchase links here.
Interview with The Long War’s Jarrett Lee
Now that the CBC Searchlight competition is over, what was your biggest takeaway from the contest? Did you learn anything from the process as a whole?
Our biggest takeaway is something that we continue to remind ourselves everyday and that is Searchlight is an opportunity. We need to work hard and take full advantage of that. There’s a lot to learn in the music industry and we need to embrace those learning experiences while continuing to grow musically as a band. We’re so excited for what’s to come, and so grateful CBC and Searchlight has helped put us in this position.
What does it mean to you to come play in Ottawa at the National Arts Centre for Canada’s 150th?
Ottawa is a special place, it’s like a home to me. The first stage I ever performed on was in Ottawa. I met my bandmate Chad in Ottawa when he was cutting his teeth in the music scene before moving to Vancouver. The NAC is an incredible venue, I saw one of my favourite bands Wilco play there. And to be playing a venue so renowned on Canada Day 150 alongside Royal Wood to my family and friends is truly surreal. It’s an important chapter in this journey and we’re so thrilled to be a part of the celebration.
Winning the competition is a huge feat, with so many other acts that entered from the start. Did you get a chance to listen and become a fan of any other artists? If so, whom?
There were a lot of talented artists in Searchlight, I’m a fan of Will, Jaryd Stanley and The Wolfe all of whom will be hitting the NAC stage July 2nd. They were our Searchlight finalist peers and we spent some serious time together going through the process. That experience was a special one that we all shared connecting us in a way. They’re also really great songwriters and awesome people worth checking out.
What was it like playing “Performance in the Park” in from of a sold out crowd in Banff?
It was like nothing I’d ever experienced! There were two thousand plus in the crowd, the weather was cold and wet but people came out and were so interested in sharing in the experience of live music and so engaged in the performance. We have a song called “Lake Louise” and everyone sang along. Magical things happen in Banff.
How much longer will it be until the Vancouver Canucks win the Stanley Cup?
Great question! Patience is a skill, not a virtue. We’ve got a hard core Montreal fan in this band who I’m sure would love to answer this if he could. Missed opportunity, sorry Chad!
Moving forward, what does the future hold in store for the band? Do you feel like there’s a lot of music in you to give?
We’re releasing an album called “Landscapes” in January that we recorded at Metalworks Studios in Mississauga with Producer Kevin Dietz. We couldn’t be more excited about it. We’re always writing and already have lots of material we can’t wait to play. There’s plenty of music flowing through us, we’ve already planned our follow up album!
Lunenburg, Nova Scotia, is made up of about 2,200 permanent residents, while Dartmouth has about 67,500. The City of Ottawa has more permanent residents than the entire province. It’s easy to be recognized, its easy to know of a lot of people, and if you are a public figure like Joel Plaskett, it’s no shock that pretty much everyone can find a connection to you.
Joel Plaskett is known around town not only for his music, but his work in the community. Advocating for the arts in Nova Scotia through organizations like the Khyber, growth of Dartmouth’s downtown core, and producing up and coming local artists. Encouraging growth in the arts is something that is found within many members of the Plaskett family. While living in Lunenburg, Bill Plaskett was one of the founding members of the Lunenburg Folk Harbour Festival. This festival has continued to be one of the towns flourishing events, highlighting local artists on its many stages, including Joel. The most recent project undertaken by the Plaskett duo has been the appropriately named Solidarity album released in February.
When I was told that I had a chance to speak with Joel, I knew that I wanted to highlight the importance of community, family, and to showcase the importance of that word solidarity. I chose to reach out to my community to find which questions they would want to ask. I was not disappointed. I learned more in that part of this interview process than I expected to in the whole thing. Many were interested in family, wanting to know what it was like to produce an album with his Dad, and how much of an influence his dad was on his career. Some were interested in his work in Dartmouth, some of his past experiences, and others interested in where he saw things going in the future.
When creating Solidarity, partnering with his dad changed the album’s sound from his usual influences, and it brought him a sense of grounding. The process led to the exploration of parts of the self, bringing back the sounds of traditional folk. Discussions of the album began about a year before they decided to go ahead with it, booking the tour before solidifying the albums production. The deadline was tight. They started the recording process in October of last year with a deadline in the first part of November, which gave them about 30 days to record and produce it in it’s entirety. Having shared a stage in the past with his father, Joel wanted to take that further and give his dad more of the stage. Bill takes lead on five songs on the album, which are rooted deeply in tradition. A sound that was also inherited by Joel, bringing him “full circle” in his dad’s influence on his music. This was an influence that started by digging through old record collections, finding interest in certain musicians that have impacted the sound Joel carried into his career. The guitar style he was interested in was very much his dad’s, an influence that he noticed come through more on this album than on other albums. This album mixes Bill’s ‘social’ musical style with Joel’s more professional approach to music production, bringing the “living room to the stage.”
Growing up, Joel was influenced by music from a variety of sources. His love of rock music began from a lesser-known source, which was his time spent at Camp Wapemeo. Located in Yarmouth, Joel attended this camp with Ian McGettigan and Rob Benvie, who would later join him to form Thrush Hermit. It was at this camp where Chef Bobby got up in front of the whole camp and air guitared Stairway to Heaven at campfire. For Joel, that moment wasn’t about the air guitaring, but about having his first taste of Led Zeppelin. He talked about his “a-ha” moment, sitting at the fire thinking, “WHAT IS THAT SONG?!” He was 12 or 13 years old, and he admits that those camp moments changed his life.
Camp, like most kids, left a lasting impact for Joel. Memories for him also included a song well known which was sung by all the kids at Camp Wapemeo. That song was Leaving on a Jet Plane. Years later, well into his career, Joel was asked to play at a camp located in Ontario. He ended up finding out that his song, True Patriot Love, became the “Leaving on a Jet Plane” song for that camp, and thinking, “Yes. I made it!”
Understanding the ins and outs of music industry is important when working the way Joel does. Running an all-in-one record store/barber shop/coffee shop/recording studio in Dartmouth keeps him in the loop about what the local industry looks like, while also giving him the ability to produce records for musicians on-site. The New Scotland Yard Emporium has provided the space for many locals like Mo Kenney to build their foundation in the music industry. Other renowned artists have gone through NSYE, such as Cancer Bats and, of course, Frank Turner who recently played a pop-up acoustic show while on tour last month.**
Growing this hub in Dartmouth has made the profession accessible for him, and other musicians in the area. Sharing worries about the financial sustainability of the industry, he says there is little money in recording and that artists can only find security through money earned while on tour. Streaming has impacted the ability to earn money off records, but has had an impact on developing a fan base for shows while away. Joel has been fortunate enough to develop an audience that has grown and gotten older with him throughout the years, many of whom are dedicated to coming to shows. Anyone who has been in that audience knows Joel takes pride in his shows, keeping it professional and casual. You’d find yourself excited to be there, and comfortable enough to go have a conversation with him after the show. Connecting with the audience and encouraging that his shows, and music in general, “is something everyone can be a part of.”
This mindset has kept him able to continue to work within the community. Avoiding the fan fair often associated with being a well-known performer, and wanting to maintain his ability to walk down the streets of Dartmouth. Relax and enjoy the simplicities in life, like disconnecting from the world of technology and telephones and going for walks around Lake Banook (one of Dartmouth’s many lakes, it is the City of Lakes after all). Keeping this small-town mentality allows for the ability to slow down, which, in true Nova Scotian fashion, also includes the boycotting of Sunday shopping – the belief that everyone needs a day of rest and relaxation.
Being on tour provides a different kind of relaxation for Joel. It provides the relaxing “feeling of being useful.” Knowing that in the moments while away, he is doing exactly what he needs to be doing. When getting on stage he is comfortable. He knows the tuning, he knows what to prepare, and knows that that first song should sound and feel like. Joel and Bill Plaskett will be playing the National Arts Centre on March 18th. He tells us to expect a shared stage. Opening for them is a “fuzzy-folk” duo, Mayhemingways, who have also been recruited to do some backing up for the Plaskett’s set. In addition to these openers, the tour will have Shannon Quinn joining for the first few shows, including the NAC. She is a talented fiddler who will be playing with them for the set, making it into a five-piece group in the end. This show will be different from what people are used to, and will showcase the fusion of Bill’s traditional folk with Joel’s upbeat rock. He also promised to bring in a few of his old songs as well.
Joel’s Song I wish I Wrote but Didn’t
Nina Simone – The Twelfth of Never (original lyrics by Johnny Mathis)_________________________________________________________
**Frank Turner and Joel Plaskett have a long-standing friendship after Turner went on tour with Emergency five years ago. Joel highlighted Turner’s stage energy, general positivity, and overall genuine kindness. Plaskett also highlighted how every so often Turner will be listening to Joel’s music and it will pop up on his twitter, and people from anywhere and everywhere will comment about checking it out. For that he gave a chuckle and thanks.
What happens when three singer-songwriters meet, become friends, and start to help each other out? I had a chance to sit down with Carleton Stone, Breagh Mackinnon, and Dylan Guthro, who all grew up in Cape Breton, Nova Scotia. Each having their own successful background in music, they told me about how they came together at the Gordie Sampson Songcamp, and from there, Port Cities was born.
Each a successful solo musician in their own right, it is no surprise that their collaboration has become its own fusion of sound, making their experimental vibe unique. Since meeting their mentor/friend Gordie Sampson, they have been working to create, perfect, and record their debut album. When asked to describe the journey of making this album they simply said “meat and potatoes.” Insisting that the album, which they have been working on for a year, has been worked down to the core. Expanding on the DIY style of writing and recording they have chosen, something that is both accessible and nourishing to the tight-knit music community they know and love.*
Port Cities revisited Ottawa, opening for folk power-house Rose Cousins on February 17th at the NAC. Listening live, their harmonies silenced the lively room of eager Rose Cousins fans. A crowd comfortable with artist interaction they sat mesmerized by the young singer-songwriters. Between songs, the crowd did not hesitate to let the trio know how they were feeling, making comments like “I can’t wait until you play at my house!” in reference to a tour contest the group is putting on to win a house show.
They promised their set wouldn’t make you cry like Rose’s inevitably did. (Trust me, you would have cried. Been there, done that, got the T-Shirt… literally) They were right, and started the show off on a strong high note, and kept the momentum from start to finish.
What’s next for Port Cities? They have a new album, and they are out to show the country. (You can give this debut EP a listen here.) They have been touring the country with folk power-house Rose Cousins, who has also recently released a new album.
My recommendation? Keep an eye out for these folks.
*Inspiration for their music is drawn from the artists’ personal tastes and backgrounds. When asked what song they didn’t write but wish they had, two of the three musicians mentioned Paul Simon’s Graceland.
The Ottawa Dragon Boat Festival is easily the capital’s most underrated summer music festival. For over 20 years, the four-day event has been taking place at Mooney’s Bay Beach, bringing over 70, 000 attendees together to celebrate culture and community.
The Ottawa Dragon Boat Foundation was founded in 2004 to help efforts with fundraising for local charities, and has since has raised over $3 million. Even more, the weekend provides the opportunity to browse local vendors, try craft beers and explore one of Ottawa’s best beaches.
Thursday, June 23
July Talk playing Ottawa Dragon Boat Festival on Thursday, June 23.
Like most outdoor festivals, the first night brought in a diverse crowd, ranging from teenagers to families. Most patrons were young adults in July Talk t-shirts, a clear indication of the headliner’s popularity and growing fan base.
The first show of the night was Modern Space, a young five-piece group from Toronto. They played a varied set of original songs and covers, paying tribute to Arcade Fire, Lana Del Rey and The Arctic Monkeys. They were an energetic introduction to the weekend.
Following Modern Space were The Muscadettes, a Montreal-based band who played with July Talk throughout the Maritimes. I’m not sure if it was the fact that the lead singer and bassist are twins, but the band had a seamless unity to its music, playing modern yet classic-sounding rock songs. They gave off a nonchalant, effortlessly cool vibe and were a refreshing reminder that this was actually a beach concert.
Thursday’s headliner was July Talk, whose performance easily lived up to the band’s rising popularity. Lead singers Leah and Peter’s onstage chemistry was electric and charismatic, and their energy animated the audience – there were a few crowd surfers, and even surprising attempts at a mosh pit.
Lead singer Leah Fay’s magnetic stage personality was quite possibility the highlight of the night. She is a natural performer, one that ties her hair up halfway through the show (with a scrunchie borrowed from the audience), offers Jameson to the security guards, and seems absolutely at ease onstage. She was inviting and engaging with the audience, making the packed hill feel like an intimate concert.
The band’s impressive musical performance and captivating personality created an unforgettably high-energy night that successfully started the weekend off on a high note.
Friday, June 24
Mother Mother performs at Ottawa Dragon Boat Festival on Friday, June 24.
Friday night opened with The Beaches, a rock group from Toronto. They sang punky, but light-hearted songs that felt like the epitome of a girl group – charming, energetic, and almost intimidatingly talented.
The second act was Ria Mae, a Halifax-born solo artist. She sang heartfelt songs ranging from bluesy to indie pop to acoustic. Her soulful, round, Adele-like voice was the highlight, and proved to have impressive stylistic range. Special mention goes to her drummer, Chuck, whose strong performance was a defining accent in Ria Mae’s style. Unfortunately, the speakers seemed to be a bit too loud, which carried through to the final performance of the night. Be sure to check out Ria Mae in the NAC Studio’s intimate setting on Saturday, October 15.
The evening’s headliner was Mother Mother, and their explosively high-energy show was fitting for a Friday night. The five-piece group was much better live; their music felt complete with dancing, strobe lights and an energetic crowd. Lead singer Ryan Guldemond led the band through their set in such a captivating way, it felt like watching a classic rock star. Their show gave off incredible, hypnotic vibes that felt like a hybrid of 80s pop and futuristic synth.
Like the previous night, Mother Mother’s vibes were mirrored by the expansive audience. Between songs, Ryan thanked the crowd, explaining that the band had taken a break from performing to write new music. He reflected on world events and preached of peace and unity. Mother Mother’s fun and uplifting demeanour was echoed by the audience and was a warm reminder that music can truly bring people together.
Saturday June 25
Alvvays played Ottawa Dragon Boat Festival on Saturday, June 25.
Saturday night brought in a quieter vibe. The audience was a vibrant mix of teenagers, older adults and families, and the evening’s bands emitted a beachy, laid back atmosphere.
The first event was Pony Girl, a young Ottawa band growing in popularity. They were much jazzier than I expected, complete with all-black ensembles and a clarinet solo. Their set felt youthful, however, and was a perfect example of classic meets modern. The band’s individual talents came together beautifully in their effervescent set, all playing impressive solos and showcasing young local talent.
Following them was Nap Eyes, a four-piece band from Halifax. They continued the evening’s relaxed vibes with a slowed-down set, boasting unique songs falling somewhere between the styles of The Shins and Neutral Milk Hotel.
Saturday’s headliner was Alvvays, a beachy, indie pop band from the East Coast. Their set was understated yet exciting; effortless but impressive.
Like always, the crowd reflected the act’s demeanour and the audience felt welcoming and content. A few sparklers and even a crowd-surfing beach ball proved that Alvvays’ uplifting indie sound was wearing off onto the audience. The band played fan favourites such as “Marry Me, Archie” and “Party Police” from their first and only album, as well as playing a few new originals, hinting at an upcoming release. The new songs were a bit darker and heavier while maintain Alvvays’ easygoing vibe, and were well received by the audience. Their encore song was “He’s on the Beach” by Kirtsy MacColl, which proved the band’s musical talents even outside their unique, original singles. It was an impressive set in every way possible.
Unfortunately, I couldn’t make it to the final night of concerts, but I have no doubt that Ottawa’s A Tribe Called Red was the perfect way to conclude one of the summer’s first festivals. Overall, the weekend was an impressive start to festival season and an uplifting, welcoming celebration of both local talent and international culture.
Saturday evening saw the NAC studio fill up in anticipation of the St. Bernardin trio Pandaléon‘s first live performance since the release of their latest offering, Atone, in January of this year. The album isavailable through the renowned Quebec label Audiogram, and the scope of sounds on this album is rich and inventive, while remaining intriguing and easily accessible. It’s like you’re being taken on a ride somewhere you haven’t been before, but you’re with friends and they know where they’re going. They’ve been here before. They live here.
The band largely self-produced this album, doing so in the abandoned elementary school that the Levac brothers/members attended as children. With the help of Nicholas Seguin, they experimented patiently over 5 months, throughout the building, seeking the appropriate spaces to capture the best sounds. The intimacy of the album really comes through in their live performance, and the studio space in the NAC was perfectly suited. From the sound engineering, to the lighting, to the video projections on the backdrop, as well the band’s own energy, the whole sensory experience was paired to an intoxicating and enlightening end.
The band’s confidence in their sound, and passion for playing makes it so comfortable to see and hear, even as a newcomer. The enjoyment was clear in singer/keyboardist Frederic Levac’s facial expressions, as certain songs would swell to their sonic climax and his brother Jean-Philippe’s drums grew from sparse, atmospheric arrangements to solid, driving rhythms. There’s something about the energy of siblings performing together that is simply magnetic. The same should be said for guitarist Marc-Andre Labelle, who’s palette of sounds was equal parts enchanting and intense, as with his physical demeanor in performance. I loved seeing how much the members were clearly communicating throughout the set as well, relying on expressions and quasi-gestures. This is a fascinating thing to watch: such intuitive interactions, evidence of the some deep chemistry between them.
The room was full of love for the group, who received a full standing ovation at the conclusion of the set. Whenever a band leaves the stage with their amplifiers and equipment switched on, I always assume an encore will shortly follow, but when they came back out to sustained applause, they instead addressed the audience to thank us again for attending, but primarily to thank all those behind the scenes who helped put the show together. A class act, graciously acknowledging how a single show can be so much bigger than the band themselves.
As I mentioned, Pandaleon’s new album Atone is out now, courtesy of Audiogram Records and it’s available on iTunes.
Story by Jared Davidson, Photo By Christina Kiffney
Folk music is often nostalgic, ringing with echoes of a bygone era. Its lyrics can be an exercise in recalling—remembering lost love, missing an old home, or eulogizing a departed friend. This can be true of other genres, but folk music’s connection to the past is at its core: the music itself, the harmonies, the chords and the song structure, is built on a tradition that stretches back generations. Every folk song recalls that tradition, some more explicitly than others.
On Wednesday night, banjoist Jayme Stone showed just how explicit that connection could be with an intimate show at the NAC’s Fourth Stage, as part of NAC Presents. Stone and company were performing music from Stone’s Lomax Project, which fully embraces the nostalgia of folk music. The project uses the work of Alan Lomax as a conduit to nearly a century of folk music traditions that span the North American continent and much of the rest of the world.
Alan Lomax was an archivist and folklorian who began his career working for the Library of Congress as a sound collector. He became fascinated by folk songs, and recorded thousands of people performing the music upon which they had been raised. The result was an enormous archive of music and stories that anyone can access. The archive has proved an excellent resource for artists like Jay Z, who have used Lomax’s recordings to create hit songs.
Stone’s approach has been different. Stone, in collaboration with some very talented musicians, has selected parts of Alan Lomax’s and brought them to life with new arrangements and with a clear love for the original material. The result is a recording titled Jayme Stone’s Lomax Project, which features beautiful renditions of “Shenandoah,” “Lazy John,” and “Goodbye Old Paint,” as well as many other lesser known folk tunes from Lomax’s archive.
Those in attendance on Wednesday night will know just how intimate, how personal they have managed to make these songs. Coupled with Stone’s occasional scene-setting, the music was powerfully evocative of a place and a time. These were songs of the land being sung, and though they have been adapted, the heart of each tune was the same.
A perfect example is “Goodbye Old Paint,” which I have had in my head ever since the show. The version that Lomax recorded features a very different rendering of the line “I’m leaving Cheyenne,” but the one sung on Wednesday by Moira Smiley, brings a deeper sense of longing and trepidation to the song. And their version of “Shenandoah,” which can be heard above, is breathtaking.
Wednesday’s concert was one of those rare ones where everyone in the room seems to understand that they’re witnessing something special. It’s a shared enjoyment that is, I think, the goal of music, and folk music especially. As if to compound that feeling, the night ended with three sing alongs of songs like “I Want to Hear Somebody Pray.” The NAC’s Fourth Stage is brilliant for that. For hardcore folkies or casual folks both, this was a night that will likely stand out as one of the better concerts of 2016, replete with incredible performances from Stone, Smiley on accordion and vocals, Sumaia Jackson on the fiddle and Joe Philips on bass. All of the artist involved have created a project that pays beautiful tribute to Lomax and to folk music as a whole.
Two-time Juno-winning banjoist and composer Jayme Stone is bringing his most ambitious project yet to Ottawa.
Stone, from Toronto, makes music inspired by folk traditions from around the world. He was once called the “Yo-Yo Ma of the banjo” by the Globe and Mail. Admittedly I know very little about banjo music other than loving its addition to many folk classics. So before the interview I made sure to give him a listen and was blown away by sounds I had never heard resonate from a banjo before. His trips around the world, especially to Africa has clearly made their mark.
Stone’s latest adventure is called the Lomax Project. Focusing on songs collected by folklorist and field recording pioneer Alan Lomax, this collaboratory brings together some of North America’s most distinctive and creative roots musicians to revive, recycle and re-imagine traditional music.
The Lomax Project comes through Ottawa on the NAC’s Fourth Stage on March 16, 2016, more information here. Check out and interview I did with Mr. Stone below:
What drew you to the banjo?
I took it up at 16 years-old. Then I heard Bela Fleck play which really showed my what type of modern things that can be done with the banjo. I also always had a love for the more traditional side of the banjo.
Who are some of your favourite banjo players or biggest influences?
Tony Trischka was huge influence on me. He taught me as well as taught Bela Fleck back in the day. Tony was amazingly forward thinking and really pushed the instrument. Another big influence or one of my favourites is Mike Seeger. Mike is Pete Seeger’s younger half-brother. He is less known, but more studious and an amazing player.
What brought you to Africa in 2007?
I always had my ear to ground and was quite interested in music from other cultures. I had interpreted some music heavily inspired by Mali. I also always knew that the banjo came from an instrument closely related to one from South Africa in the 1700’s. I started playing with a griot, a West African historian, storyteller and musician, named Mansa Sissoko. All these different threads connected and I really wanted to go learn the traditional music of Africa.
How did that trip to Africa influence your music?
I really fell in love with West African music when I was there. I truly absorbed the rhythms and melodies, and they have been with me ever since. The wonderful thing about learning music is that it never goes away. It gets in your bones. African music is certainly a big big influence on me and it is even prevalent in the Lomax project.
What drew you to Alan Lomax?
I started listening to field recordings twenty years ago when I took up the banjo. Alan Lomax is of course one of the most prolific folklorists of the 20th century and this project gave me the chance to dig deeper into his vast archive. I love the diversity of the songs he collected and revel in discovering new sounds, stories, and people through the process.
What can audiences expect to hear?
We play a good many of the songs from the Lomax Project album. On this tour, we’re also debuting fourteen new songs that we’ve unearthed and dusted off from the Lomax archive. Bahamian sea shanties, Georgia Sea Island spirituals, ancient Appalachian ballads, fiddle tunes, and work songs collected from both well-known musicians and everyday folk: sea captains, cowhands, fisherman, prisoners, and homemakers.
What are your all-time favorite albums, and why?
Bill Frisell’s record The Intercontinentals moved me to tears the first time I heard it. It weaves together sounds and people from Brazil, Mali, and America, yet Frisell’s mark is indelibly etched in the music. Marc Johnson’s album, The Sound of Summer Running, set the template for my early records in their melding of improvisation with folksy melodies. The first Remember Shakti album is brilliant. John McLaughlin, Zakir Hussian, and Vikku Vinayakram have some of the deepest chemistry and camaraderie I’ve ever heard. I always come back to Martin Hayes and Dennis Cahill’s album, The Lonesome Touch. It’s perfect music, like Bach.
What’s your hidden talent or claim to fame?
I love handwriting. My bandmates are always saying that I should design a font for people type their sets lists with.