100 Mile House

During 100 Mile House‘s packed Saturday afternoon at the Edmonton Folk Music Festival, Peter Stone and Denise MacKay, settle down to chat, glowing with enthusiasm and showing minimal signs of fatigue. They are playing their hometown festival as hometown musicians. As a result, the dichotomy of domesticity and art is interesting. “We’re staying at home. So we woke up this morning and thought, ‘we’re playing Folk Fest today!’ And then we’re feeding the cat and washing dishes,” says MacKay before Pete adds, “it’s weird because when we normally do folk festivals like this you’re immersed and your whole weekend is just based around the festival.” However, balancing dual roles did not affect their performances throughout the weekend. There was a momentary glimpse of warm sunshine on a rainy and chill Friday evening during their piece, Better, Still during the Hereos workshop session with Elephant Revival, John Mann, and Gregory Alan Isakov.

While 100 Mile House began in Stone’s hometown of London, it was really the community that lured them back to MacKay’s hometown of Edmonton. “We’ve felt really welcome to come back and play to a room full of people who just listen. That was something that was pretty shocking after playing so many pubs in London where we never really had much of a captive audience,” says MacKay. Stone also mentions that there is a sense of competition amongst the London music scene: “A lot of time people to move to the big cities to get their big break. When we were in a London all we wanted to do was make music and meet people. Everybody was just waiting for their big moment.” Stone and MacKay have been back in Edmonton for the last five and a half years and they humbly attribute their success to the support from the community. “The only reason we are where are is because we have the support of the community around us. The reason we’re playing the Edmonton Folk Fest is the support of the fans that have got us here, ” MacKay says before Stone summarizes with a smirk, “it takes a community to raise a musician.”

The sense of homeland and identity is pervasive in 100 Mile House’s two albums of Hollow Ponds (2011) and Wait with Me (2013). Even though they are now more settled into Edmonton, MacKay notes “that sense of home and what means” is an influential aspect of their work. In discussing their duo songwriting approach, they note that there are multiple entry points.  “Every song has a different life to it,” states Stone, “the second last song we did on our set today, we’ve never practiced it. I just started playing it and Denise started singing. Every song is different. I don’t know where they come from. It’s a little terrifying. It sounds a bit wanky,” he states making fun of himself in that hallmark self-deprecating Brit humor. MacKay chimes in at this point to support Stone’s statement: “Sometimes he’ll just write an entire song on the bus. It’ll just be in his head. Whereas, when I write, I can’t write a song without an instrument in front of me.” Stone wishes he had more control over his inspirational flow. “I wish I could turn it off. Like there was a dial to turn it down and turn it up when I want to use it,” he says before MacKay adds, “sometimes it comes really quickly, all at once. And sometimes you take your time with it. There is no right or wrong way.” Oftentimes the songwriting process consists of Stone getting a musical idea and then his first test round is playing it to MacKay. “It’s part of the process. I get excited to play her the song. I’m excited for her to come home to play it to her. If I didn’t, all I have are cats,” he says, jokingly alluding to a life as a male spinster. If MacKay deems the song to be a keeper, they play the song live to see if it gets a reaction.

The origins of 100 Mile House have the characteristics of a good folk love story since they sang together before they even spoke. MacKay was touring an EP she had produced as a solo singer/songwriter and saw an advertisement for an open mic night at a Toronto cafe. Unbeknownst to her, when she arrived at the cafe, guitar in hand, Stone was already playing.  “Pete was on stage and he kinda looked at me funny. When he finished his song, he said, ‘oh, they totally said it was an open stage but it’s not,'” she says. “But I let her play anyway,” he states with a comedic lightness demonstrating his generosity. After performing a cover of Damien Rice’s Volcano together, Stone happily let her play for most of the night. “She was better than me and my friend. We were rubbish,” he says with a gentle smile. At this point in the interview, Stone realized that he never officially proposed to MacKay if they should be in a group together. “We always just did it. There was no question in it,” he says with a sense of clarity and confidence. “Denise is my muse,” says Stone. MacKay notes that he didn’t really write a lot of songs when they met, he just played mostly covers. “There was one song that was mine,” Stone reveals, “but I didn’t tell anybody it was mine. And played it as a cover. I hated it.” Their budding musical as well as personal relationship was complementary in every sense. MacKay reveals: “I never really liked being a solo singer/songwriter. I love singing harmonies and being up on stage by myself is terrifying. So I’m glad that worked out. So now I always have someone with me,” she says looking at Stone with a glance that would melt any romantics heart.

In moving forward as a group, they are booking shows into 2016 and details for a future album release are percolating in their minds. While there is a lot of hard work behind-the-scenes to keep the flow of musical work, Stone notes it’s important to “enjoy the fun bits!” when it comes to soaking in the experiences of the festival weekend. “Sometimes it’s overwhelming but just to remember how great it is to be here. To have fun and not let the nerves get the best of you. A lot of artists that we really admire and love and to be on the same stage as them, it can be pretty crazy,” says MacKay.

In terms of providing teaser details for a future album release. Stone notes that he likes the concept of a prevailing sense of hope in a future album. The melancholy tone on Wait with Me (2013) was influenced by the hurdles they faced together as a couple; however, they both note it is easier when there is companionship in overcoming those obstacles. “It’s pretty much impossible to keep your person out of your songwriting. And I think the one thing that I think about is sometimes there are songs that are really personal, as somebody listening to our music, they’re not listening to us as people, they’re listening to how that song relates to them. That’s really comforting when somebody is listening to our music and they are hopefully finding themselves relating to the song or pieces of themselves in that song. Something that they can hold onto and make them feel like they’re not alone,” says MacKay about her aspirations for their music to connect with other. Stone notes that they have received personal e-mails where people have shared how their music have gotten them through difficult times. “If we that’s what we can offer people, if that’s our job, then that’s a great job,” says MacKay. At this point, Stone takes a reflective moment to reveal another perspective. “I just think of growing up. People constantly find comfort, that’s what I do. If that’s what we can do for other people, then, it’s like pretty much a dream come true,” he states with a quiet wisdom.

Until then, 100 Mile House, united in love and music, continue to share their message of hope with others.

Upcoming performances

Opening for David Myles at the Arden Theatre on October 4, 2014

Performing at the Folk Exchange in Winnipeg on October 24, 2014

Performing at Foothills Folk Club in High River on November 20, 2014

Performance at the Ontario Folk Alliance Conference October 16-19, 2014



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