Returning to the Old Church Theatre, on tour from Australia!
14 X Australian Blues Award winner Lloyd Spiegel has toured the globe for 30 of his 40 years and has one of the most interesting stories in music, having grown up on stage, learning from and touring with the founding fathers of modern Blues.
Spiegel’s guitar wizardry, powerful lyrics and knack for humorous story telling delivers a truly unique performance that reinvents the genre and dispels the clichés associated with the Blues.
Somewhere between songwriter, social worker and truth-seeker, sits 14X Australian Blues Award winner, Lloyd Spiegel. Named one of the top Australian guitarists of all time, Lloyd blends comedy, storytelling and jaw-dropping guitar chops to provide one of the most unique, solo, acoustic concert experiences in the world.
Picking up the guitar at age 4 and playing his first professional show at age 10, Lloyd can’t remember a time before playing guitar. By 16 he was on tour in the United States and has since performed at major festivals and iconic Juke Joints around the globe.
Growing up in the music business, Lloyd is passionate about promoting the blues scene and mentoring the next generation. He has taken countless young artists under his wing who have since become multi-award winning performers in their own right and he has been an advocate for blues in Australia.
Quotes:
“A revelation, the consummate performer, an Oz Blues & Roots icon.” – Rolling Stone Australia“A guitarist almost without peer, Spiegel deconstructs how the blues guitar is supposed to operate, makes sweet love to it, then kicks it out the back door” .– Australian Guitar Player Magazine“Lloyd Spiegel…guitar magic and great stories. This show is value for money! Go, be amazed!”– Terry Seguin, CBC
Note: Our patio concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on, but pizza may not be available. Check in with us on the day. If you are not able attend please contact us so we may make your seats available to someone on our waiting list. Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
Ennismore, Ontario’s Melissa Payne has truly left her mark on the musical landscape, and she’s just getting started. Her background in old time fiddle and traditional celtic music has evolved into a blossoming solo career, including three full length albums. Her live performances have garnered her critical acclaim, and notable guest collaborators like Blue Rodeo’s Greg Keelor, James McKenty, Matt Mays, Natalie MacMaster, cellist Nathaniel Smith and Jimmy Bowskill, have her working with some of the biggest names in Canada, and beyond. Her honest and vulnerable approach to the songs that comprise her latest effort are sure to win over her dedicated fans and first time listeners alike.
Inspired by some of the last century’s most iconic country sounds, from Faron Young to Brian Setzer, Nicholas Campbell first picked up the guitar at age 10 and was gigging by 11. Having found a fresh start during the pandemic, Nicholas began playing consistently with his band, The Two Meter Cheaters, who quickly rediscovered their groove as live shows began to become an option once again—and they wasted no time in seizing the opportunity.
The band worked to release Campbell’s debut album, Livin’ and Other Western Ideas in 2021, combining elements of rockabilly, western swing, and good old-fashioned honky tonk. The result was a brisk, invigorating album that feels as fresh as it does familiar. The band has enjoyed worldwide coverage and airplay since, spanning from Western Canada to Spain, to Italy, and beyond.
With Campbell’s new single and the album to come, Gonna Have A Ball Tonight, the group has shifted their tone to include a more rock n’ roll-centric sound, adding a renewed breath of energy and excitement to Campbell’s signature country sensibilities. This is the latest evolution of an emerging musician, but also a return to form, as ’50s style rock was the first genre to ever capture Nicholas’ fascination as a beginning player.
“I’m really glad about how this album came together, and I feel very fortunate that I was able to work on it with the folks who did. I’m very proud of everyone who was involved and I’m really looking forward to getting it out into the world.”
Note: Our patio concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on, but pizza may not be available. Check in with us on the day.
If you are not able attend please contact us so we may make your seats available to someone on our waiting list.
Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
Medusa would slay at a Hobbit family wedding. Wielding a sound that would turn classical music scholars to stone, these four folk musicians are reimagining the Western string quartet. By inviting back voices previously regarded as too ugly for “polite society,” Medusa tempts us to
redefine what is beautiful. With their forthcoming EP, Medusa’s dynamic arrangement style cross-pollinates the sounds of Middle Eastern, Scandinavian, Celtic, Appalachian, and Eastern European music, as well as original tunes, to create something previously unheard. With this debut release, the band aims to connect audiences across dividing lines of culture and identity to reveal the common threads beneath.
Medusa is Georgia Hathaway, Lea Kirstein, Marta Sołek, and Saskia Tomkins. For these four seasoned string players, whose collective experience as side players in successful bands spans decades, Medusa is a refuge for natural creation. Their immediate and electrifying connection is transmuted through a common string language, a love of enigmatic and obscure folk fiddles,
and their personal stories of navigating society’s liminal spaces.
One of the most misunderstood figures in ancient mythology, Medusa was wrongfully punished and cast out for being the victim of a violent act, but is remembered solely for her frightful ugliness and lithifying gaze. Through their personal narratives of alienation due to racism, sexism, immigration, queerness, and disability, Medusa the band aims to retell this story by bringing back what has been cast out. Marta Solek and Saskia Tomkins resurrect the Suka, the
Płosk fidel, and the Nyckelharpa – near-forgotten traditional folk fiddles with disreputable connotations that were rejected for centuries in their home countries of Poland and Sweden. Instead of a snake-haired Gorgon, they see Medusa as a symbol of vision, power, and inclusivity, and a source of inspiration for anyone who has been denied their true self.
Saskia Tomkins (she/her) is a master musician of violin, viola, cello and Nyckelharpa, an
educator, and a composer. UK born, she is classically trained with a folk background and a
B.A.hons. in Music (Jazz). She is an All-Britain Champion Irish Fiddler, and in 2022 received an
award for services to Irish Music in Canada. Saskia was the official Artist in Residence in 2022
with Folk Alliance International, and is currently Artist in Residence with British-based
organization The Mixed Museum, which works to preserve and share the social history of racial
mixing in Britain of Black and ethnic minorities for future generations.
Over the years, Saskia has worked with many musicians, including: The Chieftains, Sultans of
String, Jabbour, Uriah Heep, Ken Whiteley, Jimmy Bowskill, Ron Korb, David Newland, Donald
Quan, Lotus Wight, her husband Steáfán Hannigan and son Oisín Hannigan, and numerous
other musicians, actors and dancers.
Her theater work includes spending two years working closely with the composer and music
director of the Broadway hit “Come From Away”, as a special consultant, to ensure the Celtic
roots and traditions were communicated in an authentic way through the score. She has also
worked with The English Shakespeare Company and Michael Bogdanov, 4th Line Theatre in
Ontario, and Sadler’s Wells Theatre, London UK.
Saskia’s current personal projects include Steáfán & Saskia, Medusa, 2ish, Cáirdeas, and
Marsala and the Imports. She frequently performs and tours with the JUNO-award-winning band
Sultans of String. Saskia is principal 2nd violin for Quinte Symphony, and is in demand as an
educator, including at El Sistema Peterborough, Jenny Whiteley’s Old Time Camp, Lakefield
Music Camp, and Goderich Celtic College.
Marta Sołek (she/her) is a multi-instrumentalist from Poland. She was essential in the creation
of a folk music revival program at the Krakow Academy of Music, which allowed her to be the
first musician in the world to hold a master’s degree in the Suka from Bilgoray and Płock fiddle,
alongside classical cello. She was a part of the reconstruction and restoration of these unique
traditional Polish instruments from the 17th century, and flew to Pakistan to study with sarangi
masters in order to revive a lost fingernail technique needed to play these instruments.
Marta has performed all over the world with classical orchestras, jazz, pop, rock and world
music bands. She has recorded 14 CD’s in total, as well as music for TV shows, games, and
theater.
Marta is the winner of several awards and grants including a grant from the Ministry of Culture of
Poland, the Fryderyk (the Polish JUNO Award) for the best debut jazz album of the year (2015),
and the best jazz album of the year with Nikola Kolodziejczyk (2016). She has also won several
awards at “Nowa Tradycja” and ”Mikolajki Folkowe”, Polish Folk Festivals.
She was part of the band Same Suki and founded the knee-fiddle duo InFidelis, whose Projekt
Kolberg CD was awarded a full 5 stars in Songlines Magazine. She currently performs and tours
with Labyrinth Ensemble, Polky, Moskitto Bar, Medusa, the Canadian Arabic Orchestra, Dr.
Draw, and Meesha Shafi. She was the winner of the Orillia & District Art Council Emerging Artist
Award in 2020.
Lea Kirstein (she/they) is a multi-instrumentalist (fiddle / violin, viola, and cello), educator, and
concert presenter based in Toronto, Ontario.
She grew up in Victoria, BC, immersed in many different traditional and contemporary fiddle
styles, studying with Daniel Lapp, and Oliver Schroer while in the national youth fiddle project,
the Twisted String, and went on to complete a Bachelor’s degree in Music Education.
Collaborations with other musicians have led her on tours across Canada and the US with:
Medusa, iskwē, Citizen Jane, Roaring Timber, the Folk Arts Quartet, and Balfolk Toronto.
She has recorded with JUNO nominees Teresa Doyle, Leif Vollebekk, and with Nuala Kennedy,
and currently freelances in the Toronto music scene with new classical, jazz, pop,
singer-songwriter, and folk music groups, including Medusa, Polky, and Erik Bleich.
Lea is the current Artistic Director of World on a String, a Toronto-based Folk Fiddle Collective +
Music School, presenting concerts, jams, and group classes for fiddlers of all ages. WOS puts
focus on traditional folk tunes from around the world, facilitating workshop connections with
experts in their respective traditions.
She is in demand as a workshop clinician, arranger, and classroom teacher, in communities
ranging from the Yukon to Halifax and the U.S., most notably: Bulkley Valley Youth Fiddlers, Bad
to the Bow Youth Fiddle Groups, AlgomaTrad, World Fiddle Day Toronto, Vancouver CeltFest.
Georgia Hathaway (they/them) is a Toronto-based violinist, fiddler, composer, and educator
with over 30 years of training. They grew up learning both classical violin from the Suzuki
Method, and Celtic and Canadian fiddle with Oliver Schroer, Anne Lederman, and Emilyn Stam.
In 2011, their passion and interest in global roots music led them to study abroad at the Dhow
Countries Music Academy in Zanzibar, Tanzania, with violinist Mohammed Issa Matona. They
have continued to study Arabic and Turkish music for the past ten years, learning from
renowned Egyptian violinist Alfred Gamil, and have toured across Canada with the Canadian
Arabic Orchestra, including performances with the acclaimed Oud player Naseer Shamma.
Always fascinated by the connections between musical traditions, Georgia has also studied
Eastern European, Balkan, and Klezmer music since 2015 and has been a member of several
bands in Toronto, including the CFMA-award-winning Polky and Ontario-Folk-Awards-nominated
Queen Kong. Several of their arrangements, and one of their original compositions, “Under my
Skin,” were featured in Polky’s debut album Songs from Home.
Georgia has recorded and shared the stage with JUNO nominees and award-winners such as
Leif Vollebekk, Sultans of String, and Lemon Bucket Orchestra, and guested with the hit
international folk band The Turbans. They have composed for and performed in stage
productions at the Toronto Fringe Festival and the Festival de Circo in Mazunte, Mexico.
Georgia teaches fiddle and violin from their home studio and has taught at the Suzuki Summer
Music Camp, Strings Across the Sky, and the Toronto Institute for the Enjoyment of Music. They
are also a singer-songwriter in the blues and folk
Note: Our patio concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on, but pizza may not be available. Check in with us on the day. If you are not able attend please contact us so we may make your seats available to someone on our waiting list. Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
“It’s a song about taking the risk to do what you love,” Alice Wallace says of the soaring track, “The Blue,” which yields a lyric entitling her spellbinding new album. With Into the Blue, the singer-songwriter taps into the influence of her native California – conjuring the atmospheric sound of the Golden State’s canyons and deserts, mountains and crashing waves, its crowning beauty and its tragic losses. At the same time, the supple-voiced Wallace tells her own and others’ stories, weaving tales that resonate as we grapple with so many disturbing national issues.
Into the Blue is Wallace’s fourth album but marks her debut on the brand-new Rebelle Road label, an imprint founded by a trio of women dedicated to strengthening the California Country music community and expanding visibility for female artists in the Americana/roots genre. “They care so deeply about giving women a stronger voice in the music industry,” Wallace attests. Having spent the past six years writing songs and touring the nation – from AMERICANAFEST® to county fairs, barrooms to coffeehouses – Alice Wallace is ready to break out. “It takes bravery to ‘sail away into the blue’ and grab it,” she says. “It took me until about six years ago to finally take the plunge, quit my job and go for it. I haven’t looked back since.”
It was after Wallace’s return to her birth state of California 12 years ago that she fully embraced her calling as a singer-songwriter. Her musical family had relocated to rural St. Cloud, Florida, when she was a child. She grew up around the sounds of her parents playing guitars and singing, with “Gram Parsons and Emmylou Harris, their favorite,” she recalls. She also absorbed the country rock of ‘70s-era Linda Ronstadt on the turntable. “I really taught myself to sing by mimicking their styles,” she says. “The powerful belt that Linda has. The emotive lilt to Emmylou’s voice. Trying to navigate those different elements helped me find my own voice nestled in between all that.” She first picked up guitar at age 10, with her dad teaching her to finger-pick at 15, and by senior year in high school, Wallace was performing original compositions at the local Borders bookstore. It was in college that she discovered yet another calling: yodeling, that haunting vocal style that blends blues, country, and western. Wallace’s own “A Little Yodel” added her to the ranks of legends Patsy Montana and Carolina Cotton.
In 2008, when the Wallace family relocated back to Southern California, she joined them. There, she began focusing on writing, performing, and touring, both solo and with a band. December 2019 saw another big change for Wallace when she decided to leave her beloved California after almost 12 years and move to Nashville to continue honing her craft.
Since 2013, she performs some 200 dates a year. One of those with whom she’s shared stages is singer-songwriter Ray Wylie Hubbard, who says she and her “stunning” songcraft have that “Steve McQueen ‘Cincinnati Kid’ cool.” Pundits agree: she won the 2017 Female Vocalist of the Year at the California Country Awards and the previous year’s Best Country/Americana Artist at the L.A. Music Critic Awards. She was recently singled out by the Los Angeles Daily News and Pollstar for her “dead-on lovely version” of Ronstadt’s “throbbing” “Long Long Time” at the “Palomino Rides Again” event celebrating the legendary California honky-tonk.
Into the Blue represents Wallace’s evolution as a recording artist, showcasing her growth as a songwriter as she embraces a fuller sound, backed by some of Americana’s most distinctive players. Co-produced by Steve Berns and Rebelle Road’s studio veteran, songwriter and musician KP Hawthorn (who’ve made a name for themselves working with artists in the West coast Americana scene), the album is brimming with soul. The formidable rhythm section, including drummer Jay Bellerose (Bonnie Raitt, Elton John, Aimee Mann) and bassist Jennifer Condos (Jackson Browne, Graham Nash), underpins instrumentation ranging from Tom Bremer’s crunchy electric guitar to Kaitlin Wolfberg’s lush string arrangements to keys and pedal steel from Jeremy Long (Sam Outlaw).
Wallace uses an intoxicating array of vocal styles to bring her songs to life: a dusky alto on “The Lonely Talking” (co-written with KP Hawthorn); gospel-tinged belting on “When She Cries” (inspired by the end of a six-year drought in California), and a soaring soprano on “Santa Ana Winds.” The latter, a country-rock chronicle of California’s devastating wildfires, is a co-write with Dallas artist Andrew Delaney, a frequent collaborator whom she calls “the most brilliant lyricist I’ve ever met.” Wallace inhabits his stirring “Elephants,” giving voice to women who refuse to be “quiet as a mouse in a room full of elephants.” The Wallace-Delaney-penned “Echo Canyon” is, she says, “a southwestern cowboy ballad that’s a modern take on a yodel song.” Wallace’s heart-wrenching “Desert Rose” tells of a young mother’s struggle to give her baby a better life across the border.
Lyrically, the heart of the album is the luminous anthem, “The Blue,” says Wallace. It describes her own journey to “get over my fears and go for the thing I love the most.” She knew that being a traveling troubadour and committing herself fully to music could be a dangerous choice. “In some ways, I wish I had done it sooner,” she says. “But I’m also glad I have the life experience to help fuel my songwriting and survive life on the road.” The highly charged emotional feel of “The Blue” derives in part from its exquisite layered harmonies – Wallace’s vocals joined by those of her father, mother, and brother. Known as “blood harmony,” when kinfolk sing together, it conveys a rapturous kind of purity and strength. That buoyancy radiates throughout Alice Wallace’s Into the Blue, lifting her listeners up, transporting them into the world of a seasoned troubadour looking back from a dream realized and dues paid without regret. (Bio written by Holly George-Warren)
“…one of the most unheralded singers in independent country/Americana.” – Saving Country Music
“Sometimes you hear an album and the only way you can think to describe it is stunning.” – Americana Highways
“Americana artist, Alice Wallace, draws on some powerful female influences, like Emmylou Harris and Linda Ronstadt. Not only are these powerhouses heard throughout her music, but Wallace is invoking their fierce, independent spirits and paying it forward for female artists.” – Guitar Girl Magazine
“She’s got the songs, the voice and the determination to make this her life’s work.” – American Songwriter
Note: Our summer concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on! If you are not able attend please contact us so we may make your seats available to someone on our waiting list. Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
“Gorgeously crafted and executed songs” -NPR Music
“Americana Queen” -Vice Noisy
“Like the long-lost ballad Patsy Cline never got to croon, “I THOUGHT YOU WERE SOMEBODY ELSE” mixes classic country twang with broken-hearted sentiment and light touches of pedal steel” -Rolling Stone Country
“A magnificent collection of Americana” -No Depression
“Refined, sumptuously melancholy take on Southern storytelling” -NPR’s World Cafe
“Writing is the most vulnerable state that I’m ever in,” says Mary Bragg. “But there can be a real beauty in that vulnerability when you know you’ve written the strongest thing that you can, when you’ve paired a killer melody with a meaningful lyric that says exactly what you’ve always wanted to say.”
With her stunning new album, ‘Violets as Camouflage,’ Bragg examines that vulnerability in all its delicate splendor, holding it up like a diamond to the light as she carefully studies each sparkling facet. Self-produced and self-engineered at Bragg’s home studio in Nashville, TN, the fourteen-song collection is both beautiful and blunt, the work of an artist only just beginning to embrace the full range of her talents. She writes with a keen eye for detail and an extraordinary sense of empathy, populating the album with a cast of characters grappling with pain and loneliness and longing and desire, questioning when to dig in and when to give up as they struggle to cope with hardship and loss. The arrangements here are rich and rootsy, pulling from country, folk, and blues to weave a timelessly organic blend around Bragg’s breathy, evocative voice as she sings about the kind of raw emotion that might have seemed impossible to address even just a few years ago.
“I grew up in the South, where it’s not super common to come right out and say what you feel or to talk openly about your intimate emotional experiences,” says the Georgia native. “The further along I get on my quest as an artist, though, the more natural it starts to feel. Writing this album was part of my skin shedding.”
For Bragg, the process of fully coming into her own actually began with her last record, 2017’s critically acclaimed ‘Lucky Strike.’ Hailed as a “sublime distilling of Southern grit” and one of the year’s best by NPR, the album dipped its toes into a kind of radical honesty that Bragg had only previously hinted at, and it connected with audiences in profound and deeply personal ways. The record prompted Vice Noisey to dub her an “Americana Queen,” while Music City Roots called the songs “infectious, smart, and resonant,” and World Cafe praised her “refined, sumptuously, melancholy take on Southern storytelling.” The title track earned Bragg first place in the prestigious Chris Austin Songwriting Contest at MerleFest, and the record’s second track, “Comet,” racked up over three million streams on Spotify.
“‘Lucky Strike’ was the first time I started to really understand the importance of directly addressing really personal issues and hardship through song,” explains Bragg. “As I toured the record and heard from fans saying how much the music meant to them and how much they really needed to hear what those songs had to say, it just made me want to keep chasing those emotions down even more. There’s always some painful element of life that could be made better with a song.”
The success of ‘Lucky Strike’ emboldened Bragg to trust her gut in a whole new way on ‘Violets as Camouflage.’ She teamed up with a slew of her favorite songwriters—including Grammy-nominees Steve Seskin and Bill DeMain, as well as younger contemporaries like Caroline Spence and Robby Hecht—to co-write roughly 75 new songs that reached deeper than ever before. Confident in her vision, Bragg began recording the songs by herself at home, often working long hours late at night when silence finally descended on her residential neighborhood.
“I did a lot of tracking after midnight once everybody fell asleep,” she explains. “I don’t normally like to record so late, but I discovered that there was actually this quietude and calm about the middle of the night that was really conducive to capturing these songs.”
The record opens with lead single “I Thought You Were Somebody Else,” a languid, seductive tune that feels both classic and modern at once. “Were the violets, long letters / just camouflage?” asks Bragg as she examines the ways we disguise ourselves and deceive each other in life and in love. It’s an ideal entry point for a record all about the stories in our heads, the little voices that delude us into hearing what we want to hear or weigh us down with self-doubt and insecurity. On the slow-burning “This Feeling,” Bragg looks at the toll of depression and the strength it takes to soldier on in the face of it, while “The Right Track” promises that hard work and faith will be rewarded in the long run, and the tender, string-flecked “Fixed” takes on the skewed self-perception many girls grow up battling.
“Beauty comes in many shapes and forms, and I wish I knew that when I was younger,” says Bragg. “It can take a long time to learn that appearance isn’t everything when you grow up with the whole world telling you what you should look like. I wanted a song about loving yourself the way you are and not trying to make yourself skinnier or prettier. Those things shouldn’t dictate how anybody feels about themselves.”
As weighty as Bragg’s subject matter can get, she always maintains a sense of optimism and empowerment in her writing. “The Highest Tower”—inspired by the Amber Smith book ‘The Way I Used To Be’—chronicles trauma and recovery, while the waltzing “A Little Less” finds hope in taking even the tiniest steps toward self-reliance, and the poignant “More Than You Do” draws inspiration from Bragg’s grandmother, for whom she’s named.
“Life is short and you always think you have more time than you actually do,” says Bragg. “That song is about hanging on to the moments that are fleeting, about slowing down and being truly present for them. Even as people pass on, it’s an opportunity for the rest of us to appreciate how precious and beautiful a thing life is.”
Part of life’s beauty comes from those we choose to share it with, and on ‘Violets as Camouflage,’ Bragg surrounds herself with very fine company indeed. Guitarist/pedal steel player Rich Hinman (Ben Kweller, Rosanne Cash), bassist Jimmy Sullivan (Lee Ann Womack, Mark Collie), guitarist Anthony da Costa (Aoife O’Donovan, Sarah Jarosz), and fiddler Kristin Weber (Kacey Musgraves, Eric Church) are among the many extraordinary musicians who made visits to Bragg’s home studio, fleshing out her songs with tasteful flourishes and dreamy textures before passing them off to drummer Jordan Perlson (Kaki King, Becca Stevens), who added rhythmic propulsion and subtly hypnotizing grooves at his own studio.
“Making a record like this is a labor of collaborative effort and love,” says Bragg. “I tracked a lot of it by myself, but without the skill and taste and expertise of everyone who contributed, the album couldn’t have become what it is.”
The result is a whole far greater than the sum of its parts. Like any worthwhile relationship, the record is built on hard work and sacrifice and honesty, the kind that requires you to bare your soul and open yourself up to the possibility of complete and total heartbreak in order to forge a deep and lasting connection. Fear and uncertainty often hold us back, but as ‘Violets as Camouflage’ proves, the rewards are far more than worth the risk. Writing may be Mary Bragg’s most vulnerable state, but it’s also her most powerful.
Note: Our summer concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on! If you are not able attend please contact us so we may make your seats available to someone on our waiting list. Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
Nationally renowned, Québécois folk-pop musician, Geneviève Racette, has captivated listeners with her gentle, yet compelling, emotional resonance, and garnered impressive industry support for her folk-pop tracks ever since her first EP in 2014. Through her vulnerable lyricism and ethereal vocals, Geneviève has emerged as a rising star in both French and English-speaking Canadian music scenes.
Satellite, Geneviève’s third full-length record (March 2022), is a 9-song collection delivering honest stories of self-discovery and reflection through the cycle of love. The album filled with intimate vocals, lush instruments and expressive harmonies, evokes moments of love, heartbreak, healing, forgiveness and ultimately falling in love again. Like a body orbiting a star in the silence and emptiness of the universe, a satellite depends on the other to maintain its orbit, a fragile, solitary and uncertain love. Each of us will find ourselves in this cycle of love, in this eternal period of beginnings and endings.
The recognition Satellite received upon its release has been even greater than Geneviève has experienced in the past. With glowing critique from major outlets, including Rolling Stone, Exclaim!, CBC, Women of Americana, Americana Music Association, Sirius XM and countless other publications and radio stations, this has undoubtedly been her most successful release to date.
The trajectory for Racette’s career has been on a tremendous incline since her previous album, No Water, No Flowers, which catapulted Geneviève from Quebec recognition to national praise, including a Canadian Folk Music Award, performing on stage with City and Colour at Osheaga, rave reviews from media, music publications and blogs, and tracking on multiple radio stations right across Canada.
As a woman in music, it is essential to Geneviève that she surrounds herself with like-minded females in the industry. She is proud that over half her team involved in the creation of Satellite are female musicians and members of the industry. Through fine-tuning her artistic vision and developing a profound network of professionals, Geneviève approached the release of this latest record with a newfound creative state of mind and a vision to export her music across North America and beyond. A feat she unwaveringly conquered.
Note: Our summer concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on! If you are not able attend please contact us so we may make your seats available to someone on our waiting list. Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
Brooks & Bowskill is the musical partnership of husband and wife Brittany Brooks and Jimmy Bowskill (Blue Rodeo, The Sheepdogs). Their music journeys between the old and the new, weaving sounds of 60s folk rock, 70s country twang and contemporary Americana into a genre that is uniquely their own. They have quickly become known for their tight harmony singing, sophisticated songwriting and captivating live shows including recent performances at Massey Hall and The National Arts Centre opening for iconic Canadian country rockers Blue Rodeo.
“Too Many Roads” (Released Jan. 12, 2023) is their impressive and stunning 12 song debut album, showcasing the undeniable chemistry and talent of this exciting new collaboration. The couple wrote the songs together and to each other, reflecting on the cosmic fate of their new found love and the roads they traveled to get there. Brooks’ velvety croon is of another time and Bowskill’s instrumentation and production is masterful in this genre-bending debut.
This is the story of two old souls coming together through music and each bringing a wealth of unique experiences to the partnership that seems beyond its years.
For this special performance at The Old Church Theatre Brooks & Bowskill will be performing as a trio.
Note: Our summer concerts will be held outdoors with wood fired pizza available. Gates open at 5 for the 6pm show. In the event of bad weather we will be able to move the concert indoors. The show must go on! If you are not able attend please contact us so we may make your seats available to someone on our waiting list. Note: We need 48 hours notice in order to issue your FULL refund. If you are not able to give the required notice please consider your ticket purchase as a donation to the band or contact us for an 80% refund.
Spiegel’s guitar wizardry, powerful lyrics and knack for humorous story telling delivers a truly unique performance that reinvents the genre and dispels the clichés associated with the Blues.
seasoned string players, whose collective experience as side players in successful bands spans 
