Gallery: Showbox Concert Series – Shadowhand LP Release
This past Saturday we hosted our second-ever Showbox Concert Series event at St. Alban’s Church, and it was a night to remember. The sold-out show was headlined by Shadowhand, who released their debut LP called Through the Fog. The incredible lineup was rounded out by stunning performances by The Heavy Medicine Band and Merganzer, all of whom have now released records through Record Centre Records. The bands took full advantage of the high ceilings and mesmerized the audience with their performances. Our photographer Aidan Thatcher was on-hand to capture some wonderful moments from the evening. We can’t wait until the next one!
Photos by Aidan Thatcher
Deathsticks, WLMRT, & Dark Plains at Pressed
Words and photos by Sara Osmanovic
I often go into shows with little to no knowledge of the bands that are playing that night. However, upon hearing Deathsticks was playing Pressed, I knew that that was a show not to be missed. Although the show started a bit late, it didn’t have an effect on the length of each set.
Dark Plains, a local band, ripped through the murmurs of the crowd as they began their set. A steady and prominent bass line with a heavy tone dominated the room and the guitar creating dissonant riffs. One of the first things that caught my attention other than the obviously booming sound slicing through the silence was the ability the guitar had for carrying the songs while the drums rattled in your chest. It was almost as if one would take the song apart while the other put it back together and it created a unique dynamic that was easy to get wrapped up in.
Some songs would start out with a drum solo instead of with the bass, and it really set the tone and mood for the rest of the song. The atmosphere was dark but the energy was high in these moments. The uniqueness of the drums struck me, they were loud but in a few places they’d go off beat only to jump back on beat and flow and meld together with what the rest of the band played.
During the guitar solos, the bassline would be the backbone, seeming as if everything would wrap around it and this is a factor that didn’t allow the solo’s to punch you in the face with high intensity. It rather pulled people into it and allowed them to immerse themselves in the soundscape that they were presented with. Sometimes you’d hear notes that were off key but that just pulled you into the intricately orchestrated songs more because it made everything that came after sound that much better.
The vocals are almost a contrast to the music being played. They take a more mellow approach and create an overlay to the aggressive drumming, bass, and guitars; but when unified in harmonies they can pack a punch and emphasise themselves above all else. The combination of vocals mirroring the aggression in the written music got me to move my feet and nod along but it also seemed to get people to lurch their bodies in choppy, staggering, and abrupt motions.
WLMRT burst through with a fiery passion, the aggressive sound making itself present and known despite the songs being relatively short. I noticed people thrashing to it, throwing their bodies into those of others without a care and that goes to describe what the music itself is. It’s an overpowering bassline, reverberated guitar riffs, odd electronic sounds via soundboard, and the drumming that packs punches in quick succession.
Vocals cut right through the medley of sound and it’s something you try to decipher through the reverb – and maybe you manage to, or you don’t, but it’s enough to grasp your attention and drag you in by the collar of your shirt. Shrill when the songs progress and unfold but they’re no strangers to a more melodic approach. Delivered with a twitchy but fun-loving carefree attitude, the vocals really help loosen you up and get you into the weighted sound of the bass, the fuzz of the guitar, and the manic drumming.
WLMRT is a band that smashes everything together in ways that you wouldn’t imagine. It’s like that one weird combination of food that you never thought would work but does. I find that this is because there’s so much going on and because everyone seemingly marches to the beat of their own drum but that’s very far from the case. It’s something that’s so close to old school punk—pure distorted noise that throws you dead centre into the scene that they’re creating, and that’s something that keeps drawing me in.
Don’t even bother trying to deconstruct any Deathsticks song because it’s not something you’ll ever be able to do. The Ottawa band is confusing, aggressive, and beautiful, and brings genuine meaning to the name Deathsticks. By the end of the night, I’m sure only one pair of drumsticks didn’t end up broken in half.
The band sounds like a fully formed band, and I suppose they are, but if you’ve never heard or seen them, you’ll be shocked to know that they’re a duo. Every component of their music is well timed that it shocks the listener, you can’t try to listen to them, just listen, observe, and let yourself be swept away by the aggression and anger.
There’s not a single aspect that seems traditionally composed. Every musical “rule” has been rejected—from the very first song they played, where Matt rubbed the guitar strings with his hand, a technique that is seldom used to the very end of the set. Deathsticks strayed from any rules that would have been imposed and transformed intros into messy white noise.
The drumming is chaotic and the guitar steady but completely unstable. Laura knows exactly what to do and how to keep it in control, almost as if the instrument is just an extension of an arm or a leg. It seems to come as second nature and watching it is mesmerising. The consistent use of the ride and crash cymbals adds a contrast to the deep boom off the bass drum and the rattling of the snare.
Spoken words or off-beat screaming, the duo have seemingly mastered the music. The feedback, crashing drums, roaring power chords and screaming solos, all contributed to something that I had once stated would happen if they were to play in a dingy bar—that’s right, a mosh pit. Not only does the music grow wild but the crowd with it.
The set may leave you wondering “what the fuck was that?” the first time you hear them, but truly the only way to answer that question is with the simple words “controlled chaos”.
So maybe next time that you find yourself in a rut and itching to do something with your night, find a show any one of these bands are playing and let the music drown you. You won’t regret it for a second – not even when you wake up the next morning with your ears ringing just as much as the previous night.
Deathsticks and WLMRT have recently released a split LP with Nushu and Nightbummerz which you can listen to here. Check out the show photos below.
Review & Photos: CityFolk Day 2
Photos by Els Durnford
Gee, the Ottawa Folk Festival sure has changed. Since 2011 when the Bluesfest producers took over, CityFolk as it’s been so recently dubbed, has become an extension of Ottawa Bluesfest. In all but name, size and location, CityFolk is indistinguishable from its older festival brother. That old “where is the blues in Bluesfest?” criticism can and has been applied.
But for the second night of 2017’s CityFolk, the festival seemed to harken back to its roots, presenting a lineup of artists who likely wouldn’t be offended at the use of the term folk to describe them. Jack Johnson headlined the night, and his acoustic sensibilities informed his openers, from Nathaniel Rateliff to local favourite Honey and Rust.
However, because there is so much overlap between these artists, many fans may have found themselves double booked, which is the other major criticism levelled at festivals like Bluesfest: you can’t see everything you want to. So it was Thursday night as Jenn Grant took to the indoor stage as Nathaniel Rateliff took the outdoor. Though the word was that both shows were great, Nathaniel Rateliff’s set was the highlight of the night for many.
Nathaniel Rateliff and the Night Sweats have recently exploded out of Denver with their song “S.O.B.” reaching number one on the American Adult Alternative Charts in 2015. It’s a catchy song with a swear in the hook, so its popularity is to be expected. What was unexpected, at least to the casual listener, is the degree to which Nathaniel Rateliff backed up that hit with a solid set, characterized by country-folk-esqueness.
Rateliff is a born performer, and he certainly looks the part. With his ten-gallon hat and wide gait, his appearance lent authenticity to a new band playing a very old style of music. I don’t want to say he’s making the organ cool again, but he’s certainly trying. With horn-blaring crescendos aplenty, Rateliff’s band had the crowd stamping their feet to his well-written music.
Fitttingly opening for Rateliff was The Family Crest, a recording collective whose music is a loving homage to the folk music structure. Overtop of excellent melodic work, the group’s talented musicians create a beautifully textured sound, replete with horn, keys and multiple guitars. Because they’ve refined this sound to such an extent, their sound is pretty consistent. There are negatives and positives to this, but one clear negative is that no one song stood out to one unfamiliar to their music. However, the band performed exceptionally, and while they may lack a certain memorableness, they make up for it by putting on a great show.
Inside at the RavenLaw stage, Ottawa’s Honey and Rust performed an intimate set of music from their self-titled album released last year. Despite some shakiness, most likely due to the inclusion of two temporary (?) new members to their duo, the band’s sound was clear and refined, with the instant hook of Jo Beattie’s voice. Her singing brings out the sadness that is so often a feature of the band’s music, and Cristy Williams’ drumming compliments it perfectly.
From the emotional intensity of Honey and Rust, we turn to the closer of the night, Jack Johnson, whose emotional intensity was that of a bag of cotton balls. Judging from the crowd at his show, it’s unclear if he’s a musician or a party entertainer. Chalk it up to “shitty Ottawa crowds” if you like, but most people at J. J.’s concert seemed more interested in their conversational partner than the stage. Whether he was making banana pancakes or being all positive, Johnson wasn’t able to hold their attention.
And yet the park was packed. Clearly Johnson has a following in this city. It seems that Johnson just isn’t great live, and despite their love for him, his fans are more used to having him on in the background of a party.
The show was pretty lackluster. Johnson swayed his way through his repertoire, pausing every so often to make low-energy comments to the crowd about the weather. I do understand that low energy is Jack Johnson’s style, but for an outdoor festival with a huge stage, it felt incongruous, even boring.
At one point, his keyboard player crowd surfed for about one minute. Crowd surfing to Jack Johnson is a very odd thing to do, and even Johnson seemed confused, demanding the crowd return his keyboard player for the next song. And it is that image of the gangly keyboardist riding a wave of people as Jack strummed his acoustic guitar, swaying ever so gently, that most encapsulates the mixed tone of this show.
Part of that mixed tone is due to CityFolk’s own identity crisis as it seeks to draw more crowds, growing a festival that is trying to stay dedicated to its folk roots while putting on shows for thousands of people. Maybe folk and stadium crowds don’t go together? Tell that to Bob Dylan and Neil Young, I guess.
Gallery: CityFolk Day 2
Gallery: Hopped & Confused at Mill St. Brew Pub
As summer putters along with the end in sight, there are a few music events that we here in Ottawa still have to look forward to. One of those happened this past weekend, a weekend that was packed full of shows and festivals. Hopped and Confused was a two-night event that happened at the Mill Street Brew Pub, a spot many of us know for it’s refreshing beverages, but not generally for music events.
It doesn’t take a genius to know that craft beer and live music go together like PB & J, and Dine Alone Records curated a stellar lineup of artists over the two days. The lineup consisted of The Trews, Tokyo Police Club, Yukon Blonde, Said The Whale, Dilly Dally, Sam Coffey & The Iron Lungs and Ottawa’s own Hollerado and New Swears.
Our photographer Els captured some great shots of the event, check the gallery out below.
Gallery: Bluesfest Day 9 w/ MUSE, Night Lovell, Mushy Gushy & more
The second last night of Bluesfest was actually dry…yes, you heard that correctly. Dry. The beautiful sunny day held in there through the night and concertgoers came out in the thousands to enjoy some vitamin D and live music. The night was packed full of electrifying sets by Mushy Gushy, Night Lovell, Dead Obies, Wide Mouth Mason, and MUSE. Check out some incredible shots by our photographer Els Durnford.
See the full Bluesfest lineup here.
Gallery: Bluesfest Day 7
Photos by Els Durnford/Ottawa Showbox
Highlights: Ottawa Jazz Festival 2017
The Ottawa Jazz Festival saw its 37th year in downtown Ottawa this June. The festival, which takes place between Confederation Park, City Hall and the National Arts Centre, is committed every year to bringing world-class jazz and jazz-rooted music to the region. This year was no exception. With large-scale acts like Feist and Kenny Rogers headlining, local musician and jazz-lover Garett Bass focused on the lesser-known acts that shocked crowds with their instrumental prowess and heart. Read about his favourite moments below.
Thursday, June 22
Tanika is a soul singer from Toronto that I’ve been hoping to catch live for a while now. I was able to catch her band’s set, the very first of the festival, to a sit-down crowd in the Tartan Homes Stage. Though her and the band could have taken a few more risks or offered a bit more energy, it was enjoyable enough. Amongst a set of originals, they played funky covers of “Boots or Hearts” by the Hip and “Money” by Pink Floyd.
St. Paul & The Broken Bones
Fortunately the main stage had the energy I was looking for, and the rain even held off. For those who didn’t catch them at CityFolk in 2015, St. Paul & The Broken Bones are a new soul band in the style of the late 60s/early 70s era, with a talented and energy-fueled frontman. With a new and very different album behind them, I was interested to see if he could bring the same energy as he did touring his first record.
The first thing that was clear: the band has become more versed in the traditional appeals of soul music showmanship. They went through the classic intro: 1) band comes out hot with an instrumental jam, 2) horns break out into an epic fanfare, 3) introduce the singer with a cheesy radio voice, and 4) have the singer enter in a cape. The cape, of course, is a nod to the greats before him like James Brown and Elvis, but lead singer Paul Janeway’s giant and wrapped cape much more resembled something that a Game of Thrones character might wear.
From the point the cape hit the ground, Janeway was a ball of energy. He danced and belted out the tunes with a great ease, interacted with the band more frequently, and even had a David Byrne-ish moment in which he took one of the large red props from the back of the stage and began to roll around on the floor with it, tearing it apart piece by piece. All in all, it was a great way to start the festival.
Saturday, June 24
Lemon Bucket Orchestra
Saturday was a busy day, and I unfortunately didn’t make it out to see Kenny Rogers. Fortunately, I was able to make it just in time to see the Lemon Bucket Orchestra turn a 200 person crowd into true believers.
If you haven’t seen this klezmer dance party band from Toronto before- you’re missing out. They perform classic songs from the Balkans, Ukraine and Serbia with an intense energy. The show has become seamless as each band member is featured- one minute the bass trombone is soloing at the front, and the next the alto sax player is competing in a sexy dance solo with a belly dancer, and a minute later the crowd is being formed into a giant dance chain and pulled every which way.
My favourite part? For the encore, the band unplugged and literally jumped off the stage one by one, and proceeded to play a New Orleans style brass band cover of “I Like to Move It” in the center of the dance floor, with the lead singer shouting and playing police sirens on a megaphone.
Monday, June 26
When the band first started, I have to admit, it was a bit lackluster. I’ve been a huge fan of Mavis ever since seeing her sing on The Band’s “The Last Waltz,” and I had really been building this show up in my head. When the band simply walked on stage and started up with a tame, light-hearted reggae song, it seemed as though they were just going to play it safe.
But with every song, Mavis slowly offered more of her wisdom and her personality, telling stories of her wild adventures with the Staple Singers and her lifelong career. It was a slow burn in which we were treated to the Staples’ classics “Respect Yourself” and “I’ll Take You There,” her best solo hits, and a series of new songs with really great backstories. Mavis even let the stage for a moment to let her rhythm section treat us to a jam where, in a fun moment, the guitarist played his solo lighter and lighter until the guitar signal was all but gone; and then proceeded to play his unamplified telecaster into the microphone. In all, it was a really special show with a really special woman, and the NAC couldn’t have been a better venue.
To Ray, With Love: Maceo Parker & The Ray Charles Orchestra featuring the Raelettes
This performance was nailed. From the first 10 seconds, it was clear that Maceo was prepared to do a perfect impression of Ray Charles in its fullest- from his distinctive crooning to his style of adlibbing throughout each tune. If you let your guard down for even a second, you sometimes forgot it wasn’t the man himself up there.
If you’re a fan of Ray’s “Modern Sounds in Country & Western” era, this show hit home. From medium-tempo shuffles like Busted, slow crooner classics like How Long Has This Been Going On? and You Don’t Know Me, and finally fast swing like Oh What a Beautiful Morning- the first half of the set got through a surprising amount of material and played it exactly as its meant to be played.
The Ray Charles Orchestra, formed only of individuals who had played with Ray at some point in his career, featured a fantastic array of brass and woodwind, a great piano player who maybe was sometimes a little too tight for a Ray Charles show, and a solid swing rhythm section. Even the conductor was full of energy, waving his hands around wildly infront of the band in ways that a purist might snub as unnecessary. I’m going to personally use the word “endearing;” he was really fun to watch! On top of it all, Maceo picked up his alto for a couple instrumental takes, reminding us why his sax tone and chops are unmatched by most.
About 3/4 of the way through, Maceo introduced The Raelettes, who came out and sang on some classics like Hit the Road Jack and Look What They’ve Done to My Song. They did a great nailing the sound of the classic Raelettes, albeit they were the only part that felt a bit ‘canned.’ All in all, it was a great show and I think they were able to appeal to big fans and general listeners alike.
Robert Glasper Experiment
Following this show was the Robert Glasper Experiment. With their back catalogue often backing various singers and rappers, I was unsure of what to expect.
The set started off with a DJ playing Thundercat’s Them Changes slowly turned into Childish Gambino’s “Redbone,” easing our expectations into the greasy R&B to come. The band took stage with Glasper on multiple keyboards, as well as a singer/saxophonist, bassist, and drummer. The DJ stayed on stage for various sounds and white noise. The singer loved his effects as he started the first tune off with a heavy autotune that worked well with his voice, a sound he would use most of the set. That same first song lasted about 8 minutes, with various members taking solos, and Glasper showcasing his classic Thelonious Monk-esque piano sounds. The second song went into a lighter instrumental that slowly built, with the singer jumping on an effect-dripping saxophone. After that, the band flip-flopped between a vocal tune and an instrumental for the rest of the set. The bassist was in the pocket, the drummer was tight, Glasper’s licks and fills were on point- everything you’d want in a jazz R&B show.
My one complaint would be that they didn’t interact with the audience much at all compared to most of the other acts at Jazz this year, whether through anecdotal stories or vocal singalongs. Otherwise, it was a slick, fun and experimental show!
Friday, June 30
I caught most of Bixiga 70’s set in the Tartan Homes tent. I will admit, they had a tough slot, with the excitement in the air bubbling about the upcoming Charles Bradley performance. But despite all that, this Brazillian powerhouse played as though they were the only band in town. Ottawa loves its afrobeat, and it was great to have a band in town that takes that sound and combines it with a spice of their own. From Willie Colon style brass harmonies to very tight latin rhythms, they made the sounds of Brazil, Puerto Rico and Cuba mesh so well with afrobeat that you’d think the genres had always been played that way together. My highlight was lenthy percussion solo played on the tiny percussion kit to the side, with four band members trading off one another and playing wild counter-rhythms. These guys were a great way to start off the night!
Charles Bradley & His Extraordinaires
Charles Bradley is always a treat to see in Ottawa, but even moreso now that he has a few albums behind him. From the second that the pianist came out and gave his “are you ready?” style speech, it was on. Charles ditched the glitter disco suit from last time and this time came in a red 60s-style button up suit, like something from a Sgt Pepper video. The song arrangements weren’t much different than the record, and there wasn’t a lot of extra frills, but with Charles it doesn’t matter. His sheer passion is addictive for audiences, and every person in the audience was a fan whether they started as one or not. In fact, this was the first time I’ve ever seen large groups summoned from their chairs to dance like crazy at the front of the lawn chair section. Classic songs like “The World (Is Going Up in Flames)” and “Changes” had the entire audience singing arm in arm.
As usual, I was extremely impressed by his Extraordinaires. Like any Daptones band, they were tight and to-the-point and let Charles do his thing. Their catalogue is also a lot more expansive than the last time he was in town- by the time they were at the last song, I was questioning what they possibly had left to encore with, and then he pulled out “Why Is It So Hard?” and took us all to church. What an incredible show by a true performer! With the recent loss of Sharon Jones to cancer, and Charles’ recent announcement that he is also struggling with a cancerous tumour, we can only hope every day that this man overcomes his illness and is able to continue what is obviously as important to him as it is to us. Stay healthy, Charles!
My favourite part about Jacob Collier was the crowd’s reaction to the first tune. I’ve been following this young guy’s (22!) work for a couple years, and was well aware of the talent. Placing him after a giant like Charles Bradley was an extremely wise move by Jazz Fest, as hundreds of music fans poured into the Tartan Homes tent without the slightest clue of what they were about to see.
The stage was littered with instruments: a grand piano, a couple synths, an electric upright bass, a bass guitar, an acoustic guitar, a drum kit and various percussion instruments on a stand. But when only Jacob Collier walked out wearing a wireless microphone, I could see confusion in the eyes of the crowd. Where were the other musicians? Within 4 minutes, Jacob had created a rich and righteous funk tune, running from one instrument to the next while singing in his usual high pitched way. I have to hand it to the people behind the scene, as I don’t think the audience truly respected the prowess in whoever had the task of creating these loops. Jacob would grab a tambourine and shake it wildly at a microphone, only to immediately have that tambourine join the song. Next he would strap on the Fender jazz bass and play a funky rhythm, which would be looped perfectly into the tune by the time he was putting it back on the stand. Once the structure of the song was sound, he would make it to the synth just in time for the hook, using his synthesizer to alter and harmonize his singing line.
The second song- a quiet and very Canadian-style fingerpicking piece (think Don Ross) played on acoustic, which at its peak saw Collier running to the grand piano to continue playing his lush, jazzy arrangement. It was totally different from the first song, and huge indication for how all-over-the-map the entire show would be.
Collier’s excitement to experiment is very obvious as he jumps around the stage, begging the audience to clap a complicated beat, only to jump on the drum kit and play a competing polyrhythm. Is it a novelty? Well, yes, a bit. After playing with Snarky Puppy in 2016, I’m sure that a jazz icon like Collier could easily find musicians to take the stage with him. But half the fun is seeing him run around the stage, caught in his own web of insanity. His energy left me wanting to listen to and play more jazz immediately, and if that isn’t the best outcome of a jazz performance, then I’m not sure what is.
Gallery: Ottawa Jazz Festival 2017
Photos by Els Durnford
Gallery: Leif Vollebekk at First Baptist Church
A lot of us are cracking our knuckles and getting ready for the busy summer concert season. We’re going to be starting a new series of photo galleries that give readers an intimate look into some of the shows we go to. Our photographers like getting up close and personal with the artists on stage, so we’d like you to join us front and centre.
Today’s gallery is from a show last month, one that internationally renowned singer-songwriter Leif Vollebekk enchanted a packed First Baptist Church with his mystifying lyrical prowess and graceful instrumentation along with support from Ludovic Alarie. Fresh off releasing his acclaimed new album Twin Solitude, Vollebekk appeased the audience with a number of remarkable new songs in his repertoire. Photographer Els Durnford captured the essence of the night in black and white, offering moody shots for a night that was full of smiles. Have a look below.
Leif Vollebekk and Ludovic Alarie at First Baptist Church – April 14, 2017
MEGAPHONO 2017 in Photos
All photos by Els Durford/Ottawa Showbox
3 days, 13 venues, and 4147 pictures later, MEGAPHONO 2017 is done for another year. I was honoured to be a part of such an event and help capture moments throughout. The festival brings together individuals from all areas of the industry to appreciate the time and work that goes in to creating their art. I could talk for days about the performances and people I had the chance to experience, but I would much rather let the photos speak for themselves. Enjoy!
Day 1 – Wednesday, February 1
Day 2 – Thursday, February 2
Day 3 – Friday, February 3
Contest: Win a pair of tickets to WuFest + more at Black Sheep Inn (Nov. 14/15)
We are very happy to be partnering up with Blacksheep Inn and CHUO to make the inaugural WuFest happen! WuFest is a weekend-long celebration of local arts, music, and culture, named after one of Ottawa’s most prolific and omnipresent concert photographers, Ming Wu. Through Ming’s blog Photogmusic, he has provided us with a de facto photo essay of the city’s concerts, festivals, and cultural events since 2008. In fact, when I first started Showbox back in 2012, one of the first people to help me out and allow me to post his photos was Ming (since his were way better than my crappy phone pics at the time). Many of us know of Ming as an institution in Ottawa, and his photos really do tell a story. His passion for music and all things local is something that we should all try to aspire towards.
We recognize the importance of this kind of dedication and commitment to our city’s music scene, and are very proud to be a part of WuFest. The fest will consist of two days of festivities on Friday, November 14 and Saturday, November 15 (more info below). We will be giving away prize packs every week leading up to the festival, so be sure to try your luck and participate!
THIS WEEK’S CONTEST
Prizes up for grabs…
– a pair (2) tickets to one of the WuFest days of your choice
– A free pass to take the bus up to Blacksheep Inn on the day chosen
– A free copy of an excellent photo taken by Ming Wu, hand-picked by the master himself
How To Enter
Tweet, Instagram, share, or email us the name of your favourite Ottawa band! Be sure to include the hashtag #WuFest2014…. Easy!
Purchase tickets here.
* Bus for both nights leaving the Museum of Nature at 7:30PM and returning after the show. Tickets $10ADV, $12 Door, or $15 for a weekend bracelet. Please follow the Facebook Event to keep up with any updates involving transportation.
Photo Evidence of Where The Songwriter Writes by Jamie Kronick @ OAG Annex
On Saturday Aug. 30, the OAG Annex at City Hall opened a photo exhibit by Jamie Kronick, a local musician and photographer. As a drummer, he’s wound a path throughout Ottawa alongside several other artists including Laurent Bourque, Her Harbour & Goodbox Assembly. As a photographer, he’s shot his ass off, as any good photographer should, and taken the time to compose and document along the way. It’s a through a combination of his two designations that Jamie Kronick brought the exhibit The Songwriter to life.
In 2010, the series began as his graduating series at the School of Photographic Arts (SPAO) where Kronick graduated in 2011. The collection on display now showcases 20 of these portraits but the total number is actually 27. Kronick is a photographer who understands his opportunities as they come as well as his subject. The singer-songwriter is a type of artist well know for public expression but less celebrated for creative introspection. There are thousands of moments that lead to the live show or the recorded album to which we are not privy. Being able to convince 27 of this species to be relaxed in these most intimate moments, which they might prize more than most, is a feat.
Songwriters create their work in the comfort of their bedrooms, living rooms, offices or studios, each unique from one to the next. These spaces function as a bridge between an idea and its materialization into music. This series acts as a documentation not only of persons, but also as a visualization of the relationships that take place among person, place and process. – Jamie Kronick
We’re invited to see The Songwriter in his or her creative cocoon as documented by Kronick from now until Oct. 12. The mix is both of emerging and well-known musicians, each in a room that fits her or his expression of distance or intensity. This Thursday, Sept. 4, from 5:30 to 8 p.m. join Jamie Kronick, and potentially several of his subjects, for the vernissage. Check out the video that Herd Magazine put together below.
Amanda Rheaume by Jamie Kronick
Mike Dubue by Jamie Kronick