New Years Eve with Pretty Archie
First come first serve. Not assigned seating. Doors open at 4PM
Midnight snacks, champagne, and swag included in your ticket price.
Ages 19+
Pinning down the sound of Cape-Breton-based quintet Pretty Archie has always been about as easy as catching a greased pig, but with the release of their new, self-titled album the band is confident that their unique mix of folk, Americana, bluegrass, Alt-Country, and East Coast music will appeal to a wider audience than ever before. Celebrating their tenth anniversary with what is arguably their finest work to date, the album was released on February 11, 2022 via Curve Music/Warner Music.
Pretty Archie, their sixth album, is one of which they are justifiably proud, for it represents a quantum leap forward in the evolution of the group’s sound. ”I feel each of our other records was a step ahead of the previous one, but this one is six steps ahead,” declares bassist/vocalist/songwriter Colin Gillis. “We are proud of everything we’ve put out, but this is at a different level.” ‘Familiar Feeling’ the first single from the album, is nominated for Canadian Folk Music Awards ‘Single of the Year’
Helping the group realize the formidable creative achievement that is Pretty Archie was internationally-acclaimed record producer and engineer Mark Howard, whose star-studded resume includes work with the likes of Bob Dylan, Willie Nelson, U2, Tom Waits, The Tragically Hip, Peter Gabriel, and more. Howard’s fortuitous recent relocation to Cape Breton allowed Pretty Archie to take advantage of his skills, and the band couldn’t be happier with the results.
To record Pretty Archie, Howard and the band set up shop in the rustic setting of an A-frame lakeside cottage in Cape Breton. Lead vocalist/songwriter/guitarist Brian Cathcart explains that “Mark is very much about the vibe of the room, and this worked out perfectly. We were in the house for two weeks, basically doing a song a day, and we did evening sessions that had a cooler relaxed feel.”
“It was all basically recorded live off the floor, with minimal overdubs,” adds Colin. “That’s something we had always wanted, and Mark was able to do that. There’s a certain ambiance and energy in recording that way.”
Describing the new album, Brian states “it is more focused, even though you still can’t quite put a finger on it. For us, it definitely has way more of a country vibe. This record leans more towards alternative country or Americana, rather than the super commercial country out there.”
The catchy “Reasons” is one of the tunes that changed considerably in the studio, as Brian explains. “Originally that was rather a ‘cry in your beer’ song, but Mark wanted it faster. He had the 808 drum machine rhythm and we just sped the tune up to that, so now it is short, sweet and punchy.” There’s a similar upbeat tone to “Familiar Feelings,” another song that showcases the band’s instrumental prowess.
Brian digs deep vocally on the haunting ballad “Feel It In My Bones,” while, at Howard’s suggestion, “Someone New” became a duet, featuring Austin-based Maritime honkytonker Whitney Rose, with the contrasting vocals adding real resonance. Brian is especially proud of “Maritime,” a song written right in the studio that features these poignant lyrics – ”If your heart breaks down, we’ll use mine. It is weathered and weary, but it is Maritime.”
Cathcart explains that “as a band, we wear our East Coast hearts on our sleeves. We are very proud of where we are from, but our focus now is exposing people internationally to our part of the world.” Gillis adds that “if you are genuine and true to yourselves, then people will attach themselves to that, no matter where you are from.”
Pretty Archie have long been regional favourites, with a stack of Music Nova Scotia and East Coast Music Award nominations to their credit. They are now looking globally, and with Pretty Archie they have an album ready for international prime time play. Do yourself a big favour and check it out.
RG Schaller & The Peacemakers
The Frolic and Folk is excited to announce that Rg Schaller and the Peacemakers are coming for an unforgettable evening of entertainment.
A unique 5 piece band on the rise in a sea of talent.
Also joining are singer/songwriters Duane Nardocchio and Sonnie Greening, as well as some very special guests.
Tickets available at door and online $20
Ages 19+
Hauler
Seamlessly blending and bending roots, rock, and traditional Cape Breton Celtic music together into a hearty homemade soup that can dynamically have you hanging off every lyric – or knock you flat on your arse – Cape Breton’s contemporary Celtic trio Hauler has been simmering on the stove and are now ready to serve themselves up with the release of their upcoming debut album.
Familiar faces from saltwater funk trio Slowcoaster Steve MacDougall and Mike Lelievre have been sharing stages since long before they had any to play on, bringing hard-hitting pop-rock to the masses between Cheticamp and China for almost 20 years, and this represents a timely and natural return to their acoustic roots. Teaming up with fiddler Colin Grant, Instrumental Artist of the Year at the 2017 Canadian Folk Music Awards and a versatile musician who bounces between genres like a token fiddler should, the trio weaves traditional Irish and Scottish ballads, indie folk originals, and traditional and contemporary tune instrumentals with a modern acoustic approach that proves Cape Breton music can reassuringly re-invent itself.
HAULER IS:
Mike Lelievre | guitar/bass/vocals
Colin Grant | fiddle
Steven MacDougall | guitars/vocals
A Very Very Cassie and Maggie Christmas
Please RSVP at this link https://forms.gle/zdnKPFLmjmh66QkL6
“Cassie and Maggie… What an unbelievably gifted duo, the train is just gathering steam and leaving the station on these new stars. It is going to be a glorious journey, and it is already well-begun.” –Live Ireland Radio- Dublin, IR
From the deepest roots of Canada and its very earliest musical traditions come Nova Scotian sisters Cassie and Maggie, putting their own 21st Century stamp on the Celtic soundtrack of this nation. Exciting and innovative, their talent is surpassed only by the sheer joy they exude in performance. Alternating between Gaelic and English, traditional and contemporary, haunting and electrifying, the duo is nothing short of mesmerizing.
Born to a family of deep Nova Scotia roots and a rich musical history, the two have been enchanting audiences around the world with their unparalleled unity of strings, voices and fabulous percussive step dance. Theirs is the perfect balance between musical integrity and sheer entertainment as they seamlessly blend tunes passed down through generations of musicians with their own songwriting, borrowing from other writers, other genres and other eras.
They’re turning heads wherever they go – 2018 JUNO award nominees, Galaxie Radio Rising Star award winners, 17 Canadian Folk Music, East Coast Music and Music Nova Scotia awards and nominations, Female Singers of the Year by Live Ireland Radio, Female Vocal Album of the Year by Chicago Irish American News, and Album of the Year by NPR’s Celtic Connection – the list goes on.”
“Be it their foot percussion accompanying
“Nova Scotian sisters Cassie & Maggie are among the top musical acts in demand on the Irish/American/Canadian scene”
— Irish Music Magazine
Lookout Tower
Winter Swamp Music!
A groovy mix of bluesy rockers, soulful ballads and blizzard funks. Lookout Tower recorded their debut album ‘Smoke Over Sound’ last spring in a century old church in Forks Baddeck with the help of engineer Jamie Foulds. It captures the natural reverb of the room and with the session recorded with instruments live off the floor it’s got that live and raw feel which contributes to their sound.
The original songs are currently getting airplay on radio stations and the band is playing shows around the island to promote the release.
Rankin MacEachern on vocals, Bryan Picard on guitars and vocals, John Pinnington on drums and Franzi Habith on bass.
Steve Poltz
This is the story of Steve Poltz.
Some people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages.
The resulting album is called Stardust & Satellites [Red House / Compass Records].
“I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.”
The “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix.
They cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced.
The album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.”
But even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, “My mom passed away, and then a few years later my dad crossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit.”
The song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve.
On one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radio single.
“Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fizzy rhythm with you.”
“Hey, Everyone loves a can of pop” he cracks.
Among other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell.
With a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day.
Over the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dreamhouse, Folk Singer, and 2019’s Shine On. No Depression crowned him, “A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him “part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.”
Among other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon.
He’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is.
Ultimately, Steve never needed a plan.
He’s something of a natural, after all.
Steve Poltz Redux
This is the story of Steve Poltz.
Some people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages.
The resulting album is called Stardust & Satellites [Red House / Compass Records].
“I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.”
The “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix.
They cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced.
The album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.”
But even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, “My mom passed away, and then a few years later my dad crossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit.”
The song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve.
On one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radio single.
“Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fizzy rhythm with you.”
“Hey, Everyone loves a can of pop” he cracks.
Among other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell.
With a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day.
Over the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dreamhouse, Folk Singer, and 2019’s Shine On. No Depression crowned him, “A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him “part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.”
Among other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon.
He’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is.
Ultimately, Steve never needed a plan.
He’s something of a natural, after all.
Tim Baker & All Hands
At the end of 2017, twelve years after their inception, the multi-award winning band, Hey Rosetta! went on hiatus, after selling 10,000 tickets to five farewell shows. For the band’s principal songwriter and lead vocalist Tim Baker, this was the start of a new chapter.
On his debut solo album Forever Overhead, Baker warmly welcomes you to it. The first words we hear him sing, on the first single “Dance,” is akin to a toast: “here’s to the other side.” What follows are eleven songs that centre on kinship and show that Baker’s sharp songwriting, the heart of Hey Rosetta!, is as affecting as ever.
When crafting the album, Baker drew from 70s songwriters, like Jackson Browne and Randy Newman, whose music filled his childhood home and from his contemporaries (Feist, Leif Vollebekk, The Barr Brothers). Produced by Marcus Paquin (The National, Local Natives), Forever Overhead blends piano ballads with ebullient folk-rock tracks featuring Liam O’Neill (Suuns), Ben Whiteley (The Weather Station), as well as Mishka Stein & Joe Grass (Patrick Watson).
In the album’s opening track “Dance,” Baker moves alongside soft piano chords as buoyant, 70s pop style instrumentation and a piercing guitar riff steadily build, bolstering his words of longing. He sings of connectivity and the tender emotions that are coupled with glances across a gym’s confetti-lined linoleum floor, the air thick with potential Like Forever Overhead as a whole, Baker brings beauty and hope into listeners’ lives.
Joel Plaskett
From rocking Halifax’s Marquee Club to performing for the masses at Massey Hall or touring the country with his father, Joel Plaskett has forged a reputation as one of Canada’s most engaging performers and respected singer-songwriters.
Plaskett’s songs are a perennial part of the national playlist, a fixture on “best of” lists, and the soundtrack to the lives of faithful fans across the country and around the world. His accolades over a quarter century include a Juno, numerous East Coast Music, Canadian Folk and Music Nova Scotia awards, and two Polaris short list nominations.
Plaskett’s new project, 44, is his most detailed musical weave yet. A sprawling box set comprised of four, 11-song albums connected visually and thematically, at its heart 44 is an imaginative rumination on trying to slow down and grow up in a rapidly accelerating world.
Plaskett began his musical career in the early 1990s as a member of alt-rock favourites Thrush Hermit, recruiting lifelong fans as the band toured North America in a half-size school bus, setting up their signature neon ROCK & ROLL sign from show to show.
In the early 2000s, Plaskett started touring under his own name with his band, The Emergency (featuring Dave Marsh on drums since 1999, and for the last 14 years, Chris Pennell on bass). Backed by the Emergency and racking up a growing roster of anthemic singalongs, Plaskett worked his way up from small clubs to opening for Paul McCartney and the Tragically Hip, and filling larger venues with his own devoted audience.
Plaskett is a versatile and ever-evolving artist, at turns delivering intimate and idiosyncratic singer-songwriter fare (In Need of Medical Attention, La De Da, The Park Avenue Sobriety Test); incendiary riff-rock (Down at the Khyber, Truthfully, Truthfully), left-leaning folk rock (Solidarity), as well as conceptual epics and off-kilter feats of musical stamina (Ashtray Rock, Three, Scrappy Happiness, 44).
Recorded to analog tape, Plaskett’s records reflect his attention to detail, his dedication to technique, musical history and craft, and a sincere and inimitable lyrical style that runs through his diverse and ever-expanding catalogue.
In addition to producing most of his own records since 1999, Plaskett has also set up shop behind the console at his New Scotland Yard studio in downtown Dartmouth, N.S. His work with artists like Jimmy Rankin, Two Hours Traffic, David Myles, Sarah Slean, Shotgun Jimmie, Dennis Ellsworth, Old Man Luedecke, Dave Marsh, Colleen Brown and longtime collaborator Mo Kenney has led to numerous awards for production, and turned New Scotland Yard into a popular destination for artists looking to develop and document their sound.
In front of the studio is The New Scotland Yard Emporium, where Plaskett has partnered with Halifax mainstay Taz Records to bring a curated selection of records to his adopted hometown, providing a spot where music fans can congregate to grab a coffee or beer while they dig for records.
In a world increasingly connected—and disconnected — by digital mediums, Joel Plaskett prefers to make his connections the old-fashioned way, building community at his studio and shop, dedicating himself to the art and authenticity of songwriting and analog recording processes, and moving audiences with the electrifying, uplifting experience of live performance.
In all aspects of his work, Plaskett embraces both the communal and individual experiences music provides. The ways music and words combine to connect with the listener, turning a minute into a moment out of time, reminding us that we aren’t alone.
Dave Sampson Redux
Dave Sampson writes heart-on-your-sleeve folk/pop songs, delivered with a captivating and
authentic voice that could blow down a brick house. His knack for crafting simple ear-worms
and his high-energy shows have been winning him fans across Canada. He has collaborated
and shared the stage with some of Canada’s top exports such as Classified, Alan Doyle,
Donovan Woods, and more. His 2019 EP All Types of Ways, produced and recorded by
Grammy award-winning songwriter Gordie Sampson in Nashville, TN, earned him two 2020
ECMAs for Country Recording and Rising Star Recording of the Year, as well as a
nomination for Songwriter of the Year. The album features several singles which received
hundreds of thousands of streams on DSPs, were added to many editorially-curated
playlists, and were placed in several national television series and advertising campaigns.
In 2014, Dave released his anticipated debut album “No Pressure, No Diamonds” with
producers/collaborators Carleton Stone, Gordie Sampson and Dylan Guthro (Port Cities).
With the release of this album, “ No Pressure No Diamonds” was nominated for Music Nova
Scotia’s Pop Album of the Year, reached #1 on the East Coast Countdown charts twice and
received national airplay throughout Canada. Dave was also invited to Germany in 2014 with
songwriters Carleton Stone and Breagh Mackinnon to participate in a songwriting retreat
followed by a tour.
Fast forward to 2015, his song “No Pressure, No Diamonds” was interpolated by Canadian
Hip Hop icon Classified and released as his first single (“No Pressure”) on the billboard
charts via Atlantic Records. “No Pressure’ features hip-hop legend Snoop Dogg, and was
awarded Gold Record status by Music Canada. Dave also received a songwriting nod on
Classifieds “Oh No” track on his album “Grateful”, and Neon Dreams’ singles “Find a Way” &
“Love Experts” which made it to the billboard EDM top 40.
Dave has also been hand-picked as one of Nova Scotia’s most promising young songwriters
to take part in the prestigious, invitation-only Gordie Sampson Song camp for the past 10
years. Through this opportunity, he has been fortunate enough to collaborate with some of
Canada’s most sought after writers: Gordie Sampson, Caitlyn Smith (Nashville), Sam Ellis
(Nashville), Thomas AWG Salter (TAWGS), and many more.
“Heartfelt, energized and emotional, Dave Sampson has obvious natural talent as a Maritime singer-songwriter.
Recommended for fans of Joel Plaskett, David Myles and Hawksley Workman. ” – Grant Lawrence (CBC Music)
“Not only is Dave Sampson a fantastic singer/songwriter, but his live performance during both shows (as a band
and as a solo artist) was second to none. The level of comfort that he and his band have on stage oozes with
every movement made.” – HalifaxBloggers.ca @ EAST COAST MUSIC WEEK 2016
“Dave Sampson writes a great, heartfelt pop song and has a warm, inviting, laid-back style that will no doubt
appeal to a wide cross-section of people. It’s not hard to imagine his music lighting up the radio and drawing
crowds” – The Scope, St. John’s, NL