Maddy Cristall

Andy Shauf At The Fox Cabaret


Every so often a musician appears out of the woodwork and shatters our jaded notion that real music is dead. Andy Shauf is the most recent example of this phenomenon.

On Saturday night, he was calm figure singing on stage, but he undeniably held the venue enthralled. This was Shauf’s second night in a row performing in front of a hypnotized and sold out room. This event took place at the impossibly well suited Fox Cabaret, the former porn theatre and now music hub smack dab in the core of Main St, Vancouver.I have seen Shauf perform twice this past summer,at sweaty music festivals in the middle of the day when poetic nuances get lost in the clumsy frenzy of it all. The Fox provided the intimacy and romance his music deserves. The red velvet plush walls, intuitive acoustics and heritage balcony was the perfect setting for this volcano of sound.  While outside, the tail end of Super Typhoon Songda soaked the city, we were warm and safe and small under the vast, imposing prairie sky. Andy Shauf’s music is unequivocally Saskatchewan, it’s woven into every note and he took us back home with him.

His style is indie pop that wears a folk parka sometimes. Songwriting that isolates small, everyday moments and coaxes them out into fields so vast and open you can see the horizon bend. Contrasted between the land and the sky, the only thing moving for an endless distance, you have no choice but to focus on those small moments made subtly enormous.

It’s his instrumentation and arrangement however, that rounds out the feeling of isolation.This is made particularly powerful with his band that involves Canada’s cream of the crop. The complex instrumentation provides a balance to the haunted lyrics that still feels ultimately hopeful and light. Simple guitar melodies, lush strings to transition between verses, breaks, and choruses; all the while keeping the tempo inviting, and not overly serious. Yes, you’re the only voice inside your head forever, and you will never truly know what another human being is actually feeling. But hey, we’re all in the same boat, so it’s not that big a deal. The prairies breed humble, hopeful folk.

His music is certainly getting the attention he deserves which restores hope in both humans and the music industry. Shauf, signed by Arts and Crafts in 2015, dropped his first single Jenny Come Home and broke through to chart on CBC Radio 2 and 3.  He was short listed for the 2016 SOCAN songwriting prize, and his most recent effort ‘The Party’ was nominated for a Polaris Prize. He opened for the Lumineers across Europe earlier this year; Regina represent.The Party is Shauf’s third record and even stronger than his previous marvels Darker Days (2009) and the Bearer of Bad News (2012).He has grown into his music,he encompasses the unapologetic tone his sonic syrup deserves.He has even let his hair grow wild which is a good look for the young songbird who doesn’t appear to be a day over 25 yet sings with a wisdom that sounds older than time.He played tunes sporadicly from his discography  yet it all blended together seamlessly, creating a warm blanket of beautiful melancholy.

A notable part of the evening was even after playing two nights in a row in the same place he provided a heartfelt encore which I something I seldom ache for, but there I was…aching. Shauf stepped back onto the stage illuminated by warm red light. His band followed him. He sat down, adjusted the mic stand, picked up his guitar, and laughed. “That was some fantastic syncopated clapping” he stated with the same tone I hear his music in.

I’m grateful to Andy Shauf, for bringing his experience growing up with glacial winters, boundless plains, in the solitude of this human existence and expressing that generously in a well-crafted performance.Solitude is something we all try to shutter ourselves away from. Crippled by the fear of imagined slights, we’re a timid species doing our best to not to offend each other. We just want to belong, and the terror of being excluded is our own horror movie monster; forever in the shadows, always in pursuit. It takes a brave man to make a muse from his monster. Crafting soft, accessible realms to explore our inherited neuroses. Surviving a youth chilled by Regina winters and finding inspiration from it. To create music that is authentically and unabashedly gentle. From the sung stories to honest observations about how we silly humans fumble about our lives. It’s liberating to acknowledge our meekness, and therein find the freedom to just be. To just exist in a venue in Vancouver, while a storm rampages outside, with a beer in your hand, listening to good music born from Canada’s heartland.







Retire The Term Hipster Already



Thanks for this judgmental, sexist and hypocritical sketch, person that draws for a living.

The term hipster was coined in the 1940’s to describe enthusiasts of jazz music. This word vastly transformed meanings and became a large part of the North American majority’s vocabulary in the early 2000’s. The term is used to insult a large group of people who encompass certain ideas, political views, diet, style, musical taste, preference of literature and essentially anything else that is part of the infrastructure of what makes a human interesting. It is a ruthlessly unproductive word that paints giant hypocritical brushstrokes against an entire civilization. It has become a tremendously judgmental, lazy and unclear representation of contemporary culture. Examples of this notion are…

-Those feeling the need to call men wearing a ponytail a “man bun” which just further perpetuates the archaic sexism we are working hard towards decreasing.

-Assuming local cafes that practice strong ethics, environmental concerns and homemade food are pretentious.

-The notion that people sincerely appreciating art, literature, old cameras, and typewriters is somehow corrosive to humanity.

The people who are often described as hipsters are millennials and they were born into a fairly artless society that is washed over by technology. We long to have attachment with the world before us, so shopping at thrift stores and collecting antiques can be quite fulfilling. Before this term was overused to oblivion we had no criticisms towards those appreciating film photography, terrariums, records, floppy hats or whatever the hell it is now we are told not to like now. There is a stifling amount of issues we would benefit from concentrating on in this world. Making boring jokes and insults towards completely harmless people who happen to appreciate inoffensive things is not one of them. That stated-I love records (because they sound great), support local business (because no sweatshops are involved)  and write about music (because I love music) so I understand I may be the demographic who is unable to fully understand the need to practice this useless term. However, I think it’s deeply important we recognize that nobody is benefiting from this anymore. If you are trying to point out that people are cultural sheep then consider why you feel the need to use this term, there is some blatant hypocrisy there. If you think it’s not cool to be cool and therefore you need to make people feel uncool by trying to be cool then you need to deeply consider getting a life. Can we please just put the word hipster to rest? Let people be people and use the leftover energy for something even remotely useful.

Introducing Fish In A Bird Cage-Through The Tides


Photo by Jon Pernul


The Victoria, BC based Dustan Townsend is the musical virtuoso behind Fish in a Bird Cage. Townsend is a remarkably talented singer-songwriter, cellist and guitarist. His music is complex interwoven musical tapestry rich in concept and skill. He is strikingly connected to the cello, as if the instrument is an extension of his body. His skill and control of the cello is refreshing and transcending, he has discovered the endless possibilities with the often-misunderstood instrument. His lyrics are sharp, tender, earnest and authentic. He takes the right amount of poetic license and never sacrifices depth.

Townsend’s second album- Through The Tides was recently released and is packed with inventive aptitude that shatters the state of modern music. It is wise beyond it’s years in musical ability yet young at heart with it’s playful and heartwarming lyrics. Each song takes you to a new place then chivalrously walks you back home. Townsend’s voice is haunting and wide in range; it’s the perfect foundation to his music. The moving nature of the cello is particularly powerful on the album; Townsend brings each string to life every time he caresses it with the carbon fiber on his well-versed bow. A well-selected arrangement of other artists are featured on the album such as the mesmerizing violinist Hannah Epperson, the heart wrenchingly strong singer Calista Switzer and musical mastermind-fiddle prodigy Mack Shields (Tequila Mockingbird Orchestra,OQO).

Every song on Through The Tides is strong, gracefully weaving the violin with cello, providing a landscape of songwriting prowess and evoking a range of profound emotion. The second track “Angel Tango” showcases Townsend’s unique command of the cello and ability to distinguish a detailed theme with his songwriting that in this particular song is sinister and charming. The track “Roots” pays homage to early Postal Service and features the strong production that derives from Vancouver based Monarch Studios. The intensely lingering “My Dream My Addiction” sounds as if you are right beside Dustan in his studio as he is singing this heart aching ballad straight from the basement of his soul. The album breaks any stereotypes of the classical cello sound and takes the instrument to unknown territory yet does to seamlessly. This phenomenon is similar to Joanna Newsom’s relationship with the harp. The music is purely inviting, it’s easy to get lost in the album and find something new to love about it every single time. This is one of those unusual albums that somehow provide the complete soundtrack for life’s beautiful, miserable and content events. The album is a flawlessly assembled exhibition of this young man’s true and rare talent, he is definitely one to watch.

Help Dustan create his third album HERE

Check out Dustan Townsend website with his previous work available HERE

Bumbershoot 2016- From Hip Hop to Shakespeare and Everything In Between


Bumbershoot  is a three day explosion of everything music, theatre, comedy, ideas and food. It delivers everything from grandiose performances by chart topping musicians to emerging comedians in intimate theatres. The festival takes place smack dab in the epicentre of downtown. The festival grounds, ample venues and space needle backdrop make for a eclectic experience of everything Seattle and beyond.Festival goers are offered a wide array of selection, every venue is vastly different along with those that inhabit it. Young boisterous types are often found lining up to the EDM concerts at the Key Theatre while silver haired intellectuals are next-door digesting a live podcast. The following are my personal highlights from this three day excursion.

Father John Misty

Father John Misty  is the unique and invigorating singer-songwriter that derived from many bands including the harmonious Fleet Foxes. He commits entirely to each and every handwritten song he has brewed directly out of his zany and brilliant mind. His concerts are exhibitions of his true talent which is classy, clever yet unusual. He was clad in a tailored suit while he sang his heart out at the Memorial Stage at sunset hour in Seattle. It was a perfect  transition from day to night- relaxing but vibrant. Everyone watching appeared transfixed, hanging onto every word of his poetic and abstract lyrics that are packed with aptitude.

The Improvised Shakespeare Company

The Chicago based Improvised Shakespeare Company had their crowd roaring with laughter at the Bard themed intricate plots of romance, double meanings, love triangles and British domination all on the fly. On Friday they wove together a tale inspired by an audience member suggestion of a Black Beard pirate themed surprise party.   They worked off each others creation of theatrical monologue, duelling clever taunts, dance, song and sexual innuendo to continue the storyline. They skillfully produced a complicated story that had the large crowd enthralled with the clever Shakespearian tradition interpreted with modern wit.

Reign Supreme Breaking and Street Dance Competition

Over the three days Reign Supreme Breaking and Street Dance Competition provided a variety of dance exhibitions involving teams and individuals from all over the world. There is an international shared language of B boy that is peaceful and collaborative. It was a competition, yet it didn’t feel competitive. Contestants were consistently empowering and supportive to one another. The multi- cultural  performers gave introductory backgrounds that highlighted issues of social justice and providing space for marginalized youth. The DJ’s played the finest hip-hop that was notably intuitive to each performance.The audience sat on the floor of the basement in a large warehouse, immediately addicted to this refreshing art form.

Anderson. Paak and The Free Nationals

Anderson. Paak has had a wildly successful year after the release of his groundbreaking album “Malibu”. Malibu is Paak’s fourth album that has received a remarkably strong critical response. Paak’s music is jazz and funk infused ruthless hip-hop that bursts with passion and power. His voice is dynamic, rich and the man can rap a mile a minute. His performance was nothing short of amazing; his bravado and unapologetic attitude is contagious and palpable. He mesmerized the audience; it was impossible not to dance along. The sound was notably crisp as the Free Nationals are fine tuned musicians. Paak alternated between playing drums while singing quite impressively to taking the centre stage and captivating thousands with his presence.

Macklemore and Ryan Lewis

Seattle born Macklemore and Ryan Lewis provided a grand two hour home- crowd worthy extravaganza at the Memorial Stadium that echoed across the Seattle skyline. Macklemore provided homage to Seattle with guest appearances including Seattle Mariner quarterback Russell Wilson. The cavernous Memorial Stadium shrunk into an intimate music experience with Macklemore’s powerful vocals. Even the police in the crowds had tears in their eyes, specifically for the emotional  ballad “Same Love”.  He invited a group of young inner-city hip hop artists he has worked with to the stage who executed their craft beautifully. The Seattle symphony was also a part of this larger than life exhibition. It was more than I expected and I expected a lot.

Kamasi Washington

Saxophonist extraordinaire Kamasi Washington has quickly become one of the most impressive musicians on the contemporary jazz map. His 2015  triple album  “The Epic”  is a three hour celebration of jazz music that shattered the music industry.  Washington has also collaborated with Kendrick Lamar, Flying Lotus and Thundercat. He has a solo project consisting of  a wall of  remarkable musicians, in this particular performance he invited his father Rickey to play clarinet on stage which was quite riveting. Rickey is also a renowned musician from jazz group the Raw Soul Express, he inspired Kamasi to play the saxophone. This particular concert was truly memorable and virtually flawless. It took place on the closing Sunday evening at a small and intimate outdoor stage. Everyone watching was completely engrossed in his tide of talent. His music is a graceful blend of classic and modern jazz that is easy to get completely lost in. This feeling is multiplied several times over in his live performances, the experience swallows you whole.

The Motet

Seven member Colorado Band The Motet provided the only possible follow up performance to  Kamasi Washington. They kept the jazz fumed theme going and peppered in just the right amount of funk. This band delivered a get up and dance set with ample horns provided by Matt Pitt on saxophone and Gabe Nervine on trumpet. Lead vocalist Jas Ingber delivers the ballads with classic Motown flare. I witnessed front man Ingber at every other concert I attended and wondered who this incredible dancing machine was. The Motet offered a perfect last night performance that left everyone wanting more.

P. S

  • Bumbershoot offered an array of amazing local food booths that featured one dish from a Seattle adorned restaurant.
  • In the far southern corner of Ex Hall music poster vendors demonstrated a wide variety of concert posters and musician inspired impressions. These strongly talented artists deserved a better location.
  • The KEXP stage provided a cozy place to listen to music and a chance for people to see the interior of the renowned building. They sold great coffee and baked goods that paired perfectly with their well chosen performers during the festival.  The coffee ranked up there with some of Seattle’s finest and that is saying a lot in the American mecca of good coffee.
  • Bumbershoot is unlike any other festival, every venue has something completely different to offer along with wide variety of talented performers.

The Many Layers Of Frank Ocean’s Blond


The intoxicatingly talented, poetic and bold Frank Ocean releases his first album in four years titled Blond. The story behind the release of this album has been confusing due to title changing, an audio release differing from a visual album release and dates changing towards when we get our hands on this juicy material. That stated, none of the previously stated will even matter in about a week when the album will be wildly available along with a series of stunning music videos compiled in the visual album version of the record. Given that information it is clear this album didn’t seamlessly happen. Ocean just publicly stated “Thank you all, especially those of you who never let me forget I had to finish. Which is basically every one of ya’ll.” With those words it is clear there is already a theme of vulnerability of complexity associated with the making of the album.

Blond is a 17 song strong grandiose exhibition of musical experimentation, poetic exploration and innovative song writing. Every song on the album could easily be the hit single, it’s consistently powerful and doesn’t take any shortcuts. Additionally, Ocean’s voice is smooth like good scotch yet haunted like the hangover that follows. Unlike, his previous and groundbreaking  album- Channel Orange, Blond is quite tortured. The record is  reflective on heartache, the misery of millennials and the general apathy floating through contemporary America. However, the material also manages to be soulful R&B dance music, it really depends on what angle you wish to perceive it.

Part of what makes Blond so strong and complex is the rather unbelievable list of collaborators on it. This list includes Radiohead’s Jonny Greenwood who provides some heavy and gritty guitar riffs that elevate the music  to a level we seldom hear. James Blake, Beyonce and Pharrell are also present in this eclectic marvel. Additionally, the legendary Bob Ludwig  (Rolling Stones, Nirvana, The Beatles) helped produce the record. Obviously some money was involved in the creation of the Blond, however it’s really the songwriting that stands out.Ocean recently shared that “If you’re a writer you can write anything..prose, songs, raps, novels, plays, films, laws..take the governor off your gift.”

Ocean is a diverse and unique artist; he is one of the controversial rappers in Odd Future, makes tender R&B lullabies, is the first main stream male rapper to come out as bi-sexual and avoids media attention. Blond is a sophomore album that contains decades of wisdom, remarkable musical bravado and almost every emotion imaginable. This is one of those get the hard copy, listen to it several times alone as the activity for the weekend kind of album. Blond is getting some flak for changing it’s release date and taking longer than anticipated. My response to that is that substance takes time, nobody criticizes you on how long it took you to get over your ex so leave the guy alone. 

Micah Erenberg Band-Sonic Sangria


Micah Erenberg is a uniquely talented singer-songwriter from Winnipeg, MB. Micah has been playing music for years, refining his distinctive and original sound. His music is honest,playful and innovative. His presence is notable throughout the rich Winnipeg music scene. He is now outfitted with a powerhouse of a band and together they are Micah Erenberg Music.

The band’s debut album “Poor Mic’s Toe” is a cleverly crafted collection of wonderfully whimsical songs. Erenberg’s blunt poetry is charmingly juxtaposed with Tex-Mex and lo-fi sloppiness. His lyrical frankness allows one to dive into the music with no unnecessary quasi-intellectual wordplay, which is extremely refreshing.

Every song on the album offers a different tone, perspective and sound yet they are all consistently strong.The opening song “I Just Wanna Go To Sleep Forever” portrays the band’s ability to express the tragic humour of life.  The song “Jesus in LA” sounds like the sonic lovechild of David Lindley’s El Rayo-X (1981) and Mac DeMarco’s (2012). The track “Root Beer” is wildly addictive and offers both wisdom and sarcasm. The video for the song truly encapsulates the completely non-pretentious and genuine spirit of the band.

Erenberg’s music certainly pays homage to early Beach Boys and Pavement yet it’s something fresh all together.His lyrics are wise beyond his years yet his sound is youthful and unapologetic. His music is a refreshing cleanse of lyrical clarity and genuine expression. The sound is completely void of pretending to be interesting, it just is.

            The album Poor Mic’s Toe is now widely available-


The Winnipeg Folk Festival- Interview and Concert Highlights.


The Hairy Prairies-Photo by Jenny Ramone

The Winnipeg Folk Festival is unlike any other music festival on this side of the globe. There is something about the combination of the balmy weather, the endless prairie evenings, the generous and diverse array of talent and the generally benevolent attitudes of those that attend that just feels right. I have been going to this festival for over a decade as it gives me a chance to revisit my hometown and spend four days in musical paradise. Every year I discover new talent and enjoy the sounds of returning artists. This is the real music lovers kind of event, the performers intermingle with audience members seamlessly, it is void of the us and them divide. This year was notably folkier and involved more new band’s than previous years known for hosting musical legends and box office bands. I personally enjoy this kind of lineup more and believe it is where the magic begins. The following is a collection of interviews and concert highlights from this year’s festival.

Rayland Baxter

Rayland Baxter is a profoundly talented, wildly sharp and a truly authentic individual from Nashville. As the son of musician Bucky Baxter, he has deep music roots,however he does his own thing and does it well. We spoke in between sets on the particularly sweaty Friday afternoon. Baxter is a musician’s musician; he is refreshingly transparent, uniquely gifted and consistently witty. His music is certainly a reflection of his hilarious and unapologetic personality. He crafts real songs woven from his very real life that he seems to love. He explained his aversion towards confrontation, which is made difficult due to his natural yet unwarranted leadership role in his band. He shared that Nashville is still bursting with eclectic talent and not just a collection of cliché cowboy bars. He is draped in picturesque tattoos; he refers to his arms as a tour scrapbook. His smile is infectious, he doesn’t take life too seriously, but he does take it seriously enough. His set at the main stage was completely paralyzing and hypnotizing. The audience seemingly avoided blinking, as they didn’t want to miss even a mere moment. His voice is complex just like his lyrics and his band commits to the heartache and poetry that his music is made of.

Jim Bryson 

Jim Bryson has an impossibly dense resume; he lives and breathes everything music. Bryson was the founding member of the late and great band Punchbuggy. He also played with Winnipeg’s own The Weakerthans, has a strong solo career and produces other musician’s material like no other. He is a Canadian music marvel who is constantly evolving and trying new things. What makes this all even better is that Bryson is incredibly emotionally generous, uniquely hilarious and notably easy to talk to; really talk to. We started our interview right under the wrath of the Winnipeg afternoon sunlight. We discussed anxiety and depression which we agree is an under discussed and important topic in the music industry.

Bryson has two young daughters that he talked about in a charmingly matter of fact, yet nurturing way. Everything about Bryson is genuine, from his approach to music to his sincere curiosity about those around him. Our discussion varied from existential to playful while remaining consistently interesting. Bryson loves the Winnipeg Folk Festival and speaks highly of his hometown Ottawa; reminding me that it is in fact cool and we need to give up Canadian city rivalry. He loves to tour and approaches it quite realistically. He admits he never got into music for the babes back stage and found it funny that I thought that was a possibility. He is deeply humble; the only people that put him on a pedestal are his fans. This makes sense when you see Bryson perform as his music and performance quality isn’t normal. Although the man is very human, his music is surreal. It’s not necessarily experimental or even close to performance art; it’s just really really really strong music.

He shared with me his difficulty with seeing people reading or napping while he is performing in the revealing nature of daytime outdoor shows. It blows me away that anybody can avoid being completely transfixed when Bryson performs. He understands the way instruments work beyond most, like how astronomers understand space. The best part is that he is completely unaware of his commanding power. He would probably just blush at this notion and pump out another extremely astute album.


The Hairy Prairies

 The Hairy Prairies are made up of some of the most compelling, hilarious, sweet and talented people who are crucial to the Winnipeg music scene. The five-piece bluegrass ensemble just debuted at the Winnipeg Folk Fest as travelling minstrels, which was a common theme this year. That stated, their performances took place liberally throughout various pockets of the festival, making the entire event better. They were like a one band travelling folk carnival. They are a stampede of talent, painting wherever they visit with joy and wonder. Every individual in the band has a larger than life personality yet plays their difficult instrument with tremendous sophistication and grace.

The connection to each other goes back to the early stages of a childhood that was musical for all of them. The one exception to this is their sharply talented upright bass player Lindsay Woolgar, who moved to Winnipeg from Edmonton for music school three years ago. Little did she know at the time she was going to get kidnapped by these boisterous and talented machines. Their lead guitar player and singer Cary Bilcowski decided to recruit them all for a jam one fateful night that also featured the added bonus of a barbecue. They admit to loving barbecued food almost as much as music. The band educated me on the clearly undervalued instrument; the shuitar which is a guitar that is treated like a percussion instrument. The shuitar is played by the electric Morgan Fiks in this project. The Woods Brothers, who are a great inspiration to the Hairy Prairies also feature the shuitar played by the amazing Jano Rix. The Prairies show off their talent in their cover of the The Woods Brothers’ song Honey Jar. Along with the gifted Lindsay, Cary and Morgan is the lovely Donovan Locken on mandolin and Derek Micholson on harmonica, they all own their craft with individual distinction and skill.

The Hairy Prairies love music in a way so true and rare that you can tell their fingers and minds would run completely restless without the opportunity to play and perform. It is remarkable that they are so exquisitely humble yet wildly talented and hardworking. They joked about their fan club the “fairy prairies” made up of now three people. The numbers went up 300% during the duration of our interview. They are great people making really great music and I can’t wait for you to see them in the packed venues they deserve to perform at.

The Brothers Comatose

The Brothers Comatose are a five-piece San Francisco based avalanche of sonic brilliance. I sat down with front man Ben Morrison in the middle of the conclusive Sunday afternoon wrap up, the ultimate musical comedown day. Any melancholic feelings I was experiencing towards the festival ending were instantly dissolved the second I started speaking with Morrison. The man emanates everything we love about the modern music maker; he encapsulates the old spirit of country and the contemporary soul of rock and roll. His personality is an accurate vehicle towards the music he and his band create. Their sound likely gets reduced to just folk music, yet we all know that doesn’t quite cut it. Ben plays lead guitar and sings while his brother Alex plays the guitar, banjo and sings as well. They are both fine tuned musicians that grew up with parents who played music frequently in their hometown of Petaluma,their musical roots show.

The band was previously on tour with the impeccably well-suited Devil Makes Three and is currently on an extensive tour that will take them to Alaska and Australia. They also quickly jet from the Winnipeg Folk Festival to the Calgary Stampede to meet and play for one of Ben’s greatest inspiration’s Mr. Huey Lewis who they cover in their wide bank of excellent songs. All of the band members love making and playing music and do so with distinction and charisma. This clearly takes them to all the right places. It is evident that Morrison is doing exactly what he should be, it’s as if his cells are music notes and even his spoken voice sounds like he swallowed an amplifier.

He shared with me that the career he feels he would be the least suitable for is stand-up comedy. This is interesting because he is naturally hilarious and magnetic. What he doesn’t do is put on a shtick, which does happen all too often with the genres of music the band plays. This sincerity is true amongst all of his band mates as well. Their music is a fusion of country, folk, bluegrass and even punk with gracefully threaded classic songwriting and modern storytelling. What is possibly the most prominent feature of the band is their flawless harmonies that sound as though they could lift ancient brick towers. Their music is a storm of vitality and takes listeners on a vacation from reality. Their performances visibly possess people with energy and havoc. With three albums under their belt that were recorded in various parts of the world; this is a band beyond a band-it’s a celebration of sound. A sound that crosses genres, melts minds and infuses people with the magic their music is made of.


New Legends-Who To See This Year At The Winnipeg Folk Festival


Mikaela Davis-photo by Jill McCraken

The Winnipeg Folk Festival sets off its 42nd year this evening. The four day festival is renowned for it’s consistently strong lineup and boundlessly fun atmosphere. This year is notably folkier than the previous and features more local musicians. There are no massive names compared to past years but there are a sea of fresh, diverse and raw talent.Attached are my suggestions of who to check out this year…

Ryley Walker

Ryley Walker is a unique and viciously talented singer songwriter. He is a prodigious guitar player with a voice that resonates to the core. His wall of sound style of guitar playing combined with various elements of jazz instruments creates a complex sonic landscape that is easy and enjoyable to get lost it. His music resembles Bert Jansch, Van Morrison, and JJ Cale yet it’s something new all together. His music sounds like it could be from any era and I’m glad it’s from ours.

Ryan Adams

The truly distinctive and wildly gifted Ryan Adams headlines this year’s festival. Adams has been making music for two decades and the creator of 14 solid albums. His first album heartbreaker from 2000 is easily one of the most important folk and alternative country albums of our time. He is enigmatic to most, his songs are beautiful yet tortured lullabies and woven with deep and profound misery. However he is married to a bubble gum pop star and just covered the Taylor Swift album 1989 from front to back (which is somehow great). He isn’t really supposed to be “figured out” he is just meant to be heard. His performance will break your heart, make you laugh and everything in between.

Possessed by Paul James

Konrad Wert aka Possessed by Paul James is a one-man avalanche of talent and authenticity. I saw him at Pickathon a couple years ago and it is to this new of the best concerts I have witnessed. He plays various stringed instruments and sings with wild abandon, as if he is truly possessed. His songs are fun, wild and powerful void of cliché and cutting corners. He fully commits to being bizarre because he truly is, in all the right ways.

Son Little

Aaron Livingston aka Son Little is a hypnotic and commanding rhythm and blues singer songwriter. He plays slide guitar while singing homemade sultry tunes that are unparalleled. He sings about social justice, romance and the complex human experience. He is signed with Anti-records, the son of a preacher and unlike anybody else in music right now; don’t miss it.

Mikaela Davis

Mikaela Davis is the 24 year old prodigy who defies the rules of music. She is a hypnotic harp player and her voice is like a symphony of angels. We haven’t seen anything quite like her since Joanna Newsome, she is skilled beyond belief yet seems like a whimsical cartoon character. She grew up playing in grunge bands and refined her craft at the Crane School of Music in New York. Her music is gentle yet powerful she takes her harp to places beyond the realms of reality. Her music is charmingly indie yet infused with flawless classical elements. She said that the “harp can do anything”, she has redefined the use of the instrument.


There may be no classic legends this year but new one’s are brewing right before us.

Khari Wendell McClelland At The Queen Elizabeth Theatre


Photo by Laura Murray

Anticipation was booming at the Sunday night Vancouver Jazz fest event that quickly sold out at the beautiful Queen Elizabeth Theatre. The mostly local and always brilliant Khari took the stage before Ms.Lauryn Hill’s performance. McClelland is a hypnotic performer,he embodies the essence that commands large audiences just like legends such as James Brown or Mavis Staples.His voice is an experience,like swimming in the ocean or eating chocolate; it’s endlessly enjoyable and makes you want more immediately. I witnessed various audience members closing their eyes to soak in every second of his velvet and virtuosic pipes.The majority of his set list consisted of songs from his new solo debut album “Fleeting Is The Time” which is a true marvel and belongs in your album collection right now.His homemade songs are inspiring,honest,real and relatable in ways that stir one’s emotions in all the right directions.He makes people feel heard while they hear him, like a modern day music healer.He offered generous explanations of songs before he performed them with his profoundly talented band.This was most notable on his song “Damned” in which he asked the audience how they would spend the last week of their life to which one brave fan shouted “I would do this”. He also encouraged everyone to stay strong and tenacious when the going gets tough with the moving “Roll On”. He covered Bowie’s “Oh You Pretty Things” remarkably well,he didn’t merely hit the complex notes of the song he nailed them and resurfaced the power of Bowie’s voice.He shared his plans to travel to Jamaica this next week to work with youth through the Bob Marley Foundation. McClelland is filled with passion,bursting with love and booming with talent.His performance was my personal highlight of the night.He was gracious and generous,leaving the audience wanting more but gifted them with something they won’t soon forget.Do yourself a favour and check Fleeting Is The time and see this man perform any chance you get.

Levitation Vancouver 2016- The Highlights



Levitation Vancouver feels more like a state of mind than a festival that you attend. It is a thrilling, exciting, slightly terrifying and mind altering explosion of psych rock , shoe gaze,trip-hop, electronica and metal. Various facets of the human condition are prevalent during this three-day, four night festival that takes place in the downtown core/underbelly of the ghetto in Vancouver. This is Levitation Vancouver’s second birthday; it is a lovechild of Levitation Austin and Timbre Concerts. Despite there being some serious hiccups before the event regarding the day time portion of the festival being moved from the beautiful and open Stanley Park to the confided walls of Commodore Ballroom, the festival was smooth as velvet. It certainly helped that the Commodore is one of the best looking and sounding venues in Western Canada. The lineup this year was exceptional and completely well suited to the nature of the festival. This included: Flying Lotus, oF Montreal, The Growlers, Tycho, Shabazz Palaces, White Lung, Holy F, Suuns and many more authentic, unapologetic and face numbing bands. The following is a list of my personal highlights from this brain-bending weekend.

oF Montreal

oF (yes, that spelling is intentional) Montreal played on Friday night in between Tycho and Fidlar at the Commodore Ballroom. The concert took place during the witching hour of somewhere between 8-9 P.M, it’s the end of the day and the beginning of the night and we seldom get our minds blown during this hour. There was something almost unsettlingly exciting about watching the five piece band from Georgia all dressed like stylish Muppets set up their stage. It is clear they come from a completely different universe; the same one the Flaming Lips and Peaches are probably from. Lead singer Kevin Barnes has a stage presence that could make buildings collapse and people faint. The bustling yet respectful audience were transfixed for the entirely of this generous concert. The band put every last speckle of their bizarre and wonderful energy into this performance. This was most notable with keyboard player Jojo Glidewell, who gracefully attacked his instrument with intense dominion that was impossible to ignore. Their set was glamorous yet lo-fi, grandiose yet gentle and aesthetically refined yet messy. It was everything the audience needed to either conclude their day at the festival or boost them into the evening or many more performances.

Holy Fuck

Holy F closed the stage at the Rickshaw on Friday night. The band is notably understated aesthetically, they all look and act like regular dudes from Nova Scotia and Ontario yet make music that is wildly contentious and innovative. However, they have managed to reach some serious musical peaks such as getting nominated for both a Juno and a Polaris, toured with MIA and were late Lou Reed’s  alleged favourite band. They are an electro-acoustic noise rock band, which is refreshing to witness this day in age with the abundance of laptops present at concerts. They make rich sonic soundscapes that visit various genres. They orchestrate powerful and haunting concerts and this one was particularly strong. The combination of the concert-taking place at the Rickshaw, which lends itself so well to complex music along with the stunning visuals, made this impeccable performance quite remarkable.

Flying Lotus

Steve Ellison aka Flying Lotus is a experimental electronic musician extraordinaire. He is impossibly talented in a highly misunderstood (especially by yours truly) and misrepresented (iPod addicts) genre but he is truly one of the finest in the field. The nephew of Alice Coltrane and life long jazz fan has a unique approach to sound manipulation. His set finalized the last show at the Commodore on Saturday night, which made this already highly anticipated performance even more exhilarating. The man puts on one hell of a show, it’s as if we are his puppets that he is controlling with his insanely fast paced fingers. Puppets that are extremely happy and in constant awe of his demi-god like potency dancing like wild to the soundscapes he creates in front of us.Moreover,his performances are more like magic shows than concerts. This performance was multifaceted and pulled from his early work to latest material; this lent itself generously to both burning fans and newcomers to his music. Additionally, the visuals were wildly beautiful and suited intuitively to the tone of his set. He had the audience essentially petting the ground quietly while taking deep breaths (to songs such as Do the Astral Plane) to manically jumping up and down in a hip shaking frenzy (such as when he dropped Busta Rhyme’s Gimme Some More). It was everything we expect from Flying Lotus and somehow even more…

Shabazz Palaces

Shabazz Palaces are one of the most interesting bands in modern hip-hop. The Seattle based duo consists of Ishmael Butler aka Butterfly from Digable Planets (Cool like Dat) and Tendai “Baba” Maraire. They played at the Imperial late Saturday night before Thundercat and after Charlotte Day Wilson. Their music is the epitome of jazz infused hip hop that we miss from the 90’s yet it has a contemporary power that encapsulates the evolution of the genre. Butler’s delivery and lyrical content are mesmerizing and meaningful, it’s somewhere between spoken word and gangster rap. Maraire played classic West African instruments and orchestrated intuitive electronic beats directly beside him. The two are perfectly suited, always pushing new boundaries and are the first hip-hop band to sign with Sub Pop records. Their performance was clearly and magnificently improvisational. At certain points both members seemed possessed by some grand and ancient spirit and who am I so say they weren’t?