Category Archives: Interview

Interview Preview with Catherine MacLellan

Photo cred: Jule Malet-Veale
Photo cred: Jule Malet-Veale

Catherine MacLellan takes some time to chat with Folk on the Road prior to her upcoming concert at the New Moon Folk Club.

Coming from PEI, an island that has a small town feel, how does the warmth of this community emerge in your music?

Prince Edward Island is an amazing place to grow up, no matter what your interests are, but as a writer or an artist, it is so engaging and encouraging you can’t help but create. There is music everywhere, in every home, every bar and nook and cranny.
As a musician here, there isn’t the sense of competition there might be in larger urban centres, we are a very close knit community.
But what also makes this a perfect place to create is the quiet, the solitude. I live in the country and am inspired by the life around me, whether it is the animals in my yard, the wild ocean churning or the leaves or snow falling to the ground. There is a lot of time for me to contemplate and to turn the world around me into song.

Your Father, Gene MacLellan, was a songwriter while you were growing up before he passed away when you were 14. Are there any memories of his songwriting process or lifestyle that stood out to you as a child?

I will never forget the image of my father sitting in the living room with book and pen and guitar, always at work, always editing and creating. He would never take the easy way out with his music, he worked every line until it rolled off the tongue perfectly.
Sometimes, I would wake in the middle of the night and go downstairs to find my dad in the kitchen, at the table, working on music. I think those quiet moments were his most productive times. When the whole world is asleep, there is a sort of quiet magic or inspiration.

You manage multiple roles, such as being a singer songwriter as well as a mother, do you find multiple roles informs your perspective while performing in either domain?
My writing certainly changed after becoming a mother. There is a certain shift in perspective that happens when you give birth, a very abrupt awakening to the realization that the world and all the people in it are multifaceted, many layered, and all someone’s child.
Perhaps it’s just a growing up, maturing thing as well – you realize that not everything is about you. It has allowed me to look into other people’s stories and wonder about what’s going on in their heads, which became a whole new source of inspiration.

You have mentioned in previous interviews that songs may be subconsciously percolating in your mind while you are creating quiet moments for yourself, such as through gardening. How do you create a meditative atmosphere for yourself in order to channel the creative flow of your thoughts?

I’m not sure it’s something that can be planned, but it is a common phenomenon. If you think too hard about something, you’ll never find the answer. But if you take a break and do something mundane or meditative the answer or the idea may come to you out of the blue. I meditate every day, which helps keep my mind clear and present. Other than that, I try to give myself over to my hobbies like gardening or this time of year it may be knitting or sewing. I’m a maker, it turns out. I like to plant a seed and see how it grows.

Is there anything else you would like to mention that I’ve missed?

I feel very grateful that I get to play music for a living… I think everyone needs some sort of creative outlet and I feel fortunate that mine is also my job.

Catherine MacLellan performs at New Moon Folk Club on Friday, February 3, 2017.

Interview Preview with New North Collective



Spoken word Artists and Bassist, Pat Braden, from the New North Collective takes some time to speak with Folk on the Road while on are on tour.

What is the significance for you to live a traditional lifestyle but translate this for contemporary audiences?

In our understanding of a traditional lifestyle, we see ourselves as contemporary northern artists. We connect to traditions in our individual lives through language, community, our teachers and elders and living like most northerners do by connecting daily to the land. We interpret our northern lifestyle through our music, acknowledging and paying respect to the traditional cultures that have formed and influenced us. These traditional values as well as our own stories and experiences of living in today’s modern world are all subjects that we write about in the NNC.

Do you have any specific memories of living in the North that was formative in you becoming an Artist?

Pat:  My Mother played organ in the church for as long as I can remember and my brothers would bring home LP records and Rolling Stone magazines which I consumed voraciously. As a boy in the mid 1960s, I had the opportunity to hear a few of the local musicians playing around town. In the basement of the Legion one Christmas, I was able to catch a glimpse of a guitar player on the stage and thought that was the coolest thing I had ever seen. Later on, I got to know that guitar player and after I started to play music in Yellowknife, many of the other musicians as well who played music through the 1960s and 1970s.

What does a collaborative session with the other Artists look like when you are rehearsing?

Our rehearsals or writing sessions have taken place in recording studios, performance spaces and in one of our sessions, in Burwash Landing in Kluane Park, YT at Diyet and Robert’s home where we were quite rudely interrupted by a visiting grizzly bear.
We set up our instruments and amplifiers in a circular or semicircular arrangement and jam and pitch ideas back and forth until we have the structure of a song. There are usually band member’s children around our sessions as the work/life balance can be demanding for all of us. This also helps to keep our work real with family close by. Meal times and downtimes are also an important part of our process as we take these times to reflect and discuss the work of the day.

New North Collective – First Sign of Spring from Brett Elliot on Vimeo.

It has been mentioned that there is a common goal in NNC to discard the stereotypes of the North, instead, what image do you wish to leave audiences with instead?

We hope that an audience will leave with a sense of having been invited into our lives and welcomed into our community. Leaving our concert with a small sense of freedom and leaving whatever assumptions of the north that came in the door of north behind. Maybe a spark for an adventure and desire to learn more about this incredible, diverse and humble part of the country.

Members of the NNC are passionate about a wide range of musical styles, including folk, rock, jazz, improvisation, classical, singer-songwriter, storytelling, etc. and we bring them together in the Collective.

What is the personal significance for you to be a part of the NNC?

Pat: It is important to be a part of a group of northern based musicians who have similar values, lifestyles, life experience that we all wish to express in our music. It is also significant in that this is based on first and foremost, the creation and performance of collective / collaborative created music. Each of us have our own solo careers but the NNC gives us a chance to contribute new ideas to a collective process and to gather new ideas for our own personal creative works.

New North Collective will be performing at the Arden Theatre on Saturday January 28, 2017.

St. John’s Waltz – A Ron Hynes Tribute at Northern Lights Folk Club

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Northern Lights Folk Club is hosting a Ron Hynes tribute with musicians, Maria Dunn, Eileen Laverty, Saskatchewan’s Tom Wilson, Bill Werthmann, Ben Sures and Shantel Koenig sharing their voices to honor his tunes.

Singer-Songwriter, Maria Dunn, had time to speak with FOTR in anticipation of the upcoming performance at NLFC.

What is the significance for you as a singer/songwriter to pay tribute to Ron Hynes?

Ron Hynes was a profoundly gifted songwriter who wrote so eloquently about Newfoundland and its people, bringing that part of our country to life in his songs.
His songs made a huge impact, in Newfoundland, across Canada and beyond. Sonny’s Dream is sung by people everywhere and was recorded by artists as varied as country star Emmylou Harris and Scottish folk singer Hamish Imlach.

As a songwriter who wants to improve my craft all the time, I admire Ron’s ability with words, story, melody, point of view. His catalogue of moving and memorable songs is huge.

Do you have any specific musical memories of Ron Hynes tunes from your childhood?

I didn’t know Ron’s music as a child, but became aware of his songs in my 20s, when I was a volunteer DJ with a weekly folk/roots show on CJSR FM88, University of Alberta Campus/Community Radio in Edmonton. In fact, Hamish Imlach’s version of Sonny’s Dream might have been one of the first that I heard in the late 1980s.

By the time I met Ron Hynes in person, at the 1999 Vancouver Island Folk Festival, I was sufficiently in awe of his abilities as a writer and not very articulate about how much I admired his songwriting. He was kind to me in that first meeting and encouraging in many other meetings over the years at the Edmonton Folk Music Festival, the Northern Lights Folk Club (Edmonton) and The Ship Inn in St. John’s, NL.

Around that same time, I heard a CBC Radio live recording with Ron singing a song of his that I hadn’t heard before. I rushed to record it on cassette and caught about half the song. It was called “Dublin With Love”. In those years, I still drove a Firefly hatchback with a cassette deck as part of the car stereo and for several weeks, every time I was driving in that car, I would play that half-a-song and harmonize with Ron, I loved his singing of that melody that much. Lo and behold, the Edmonton Folk Festival rolled around a summer or two later and Terry Wickham gave me the wonderful opportunity of performing on a session stage with several Atlantic Canadian music icons, including Ron Hynes and Cape Breton Fiddler Buddy McMaster. Of all the songs that “The Man of a Thousand Songs” could have chosen to sing in that session, he started Dublin With Love. When I chimed in with the harmony that I had been singing for weeks in my car, he raised his eyebrows and gave me a sidelong glance which seemed encouraging at the time (as opposed to a “stop-that-racket!” glare). The experience was one of those little dreams come true, getting to sing along with one of my songwriting heroes! I must have done OK, because he invited me back to sing harmony with him at his folk fest concert the next afternoon.

What are you most looking forward to at the Ron Hynes tribute?

Hearing Eileen Laverty sing my favourite Ron Hynes song, Godspeed, written for the late songwriter Gene MacLellan (writer of Anne Murray’s hit song “Snowbird”) and brilliantly referencing Gene’s own song “Put Your Hand In The Hand Of The Man”. Ron had huge respect for Gene’s songwriting talent and his compassion in this song for Gene (who had taken his own life) rings through every line. Godspeed always moves me to tears and Eileen is a beautiful interpreter of songs. She will do a gorgeous job, I’m sure!

What current projects are you currently focused on in your own repertoire?

I am currently promoting and touring the new album, released in April 2016, entitled Gathering.

I’m thrilled that Gathering has received some accolades recently:

(1) Winner – 2016 Independent Music Award – Social Action Song category for the song “Malala”
(2) Shortlisted for the 2016 Edmonton Music Prize

In the months ahead:

I’ll be heading to Folk Alliance 2017 in February. I’ve been selected to perform an Official Showcase.
March 2017, I’ll be performing 4 special Triple Bill concerts in NY State with two US songwriters Si Kahn (legendary songwriter of “Aragon Mill”) and Joe Jencks.
Sep 2017, I’ll be heading back to the UK for another month-long tour of folk clubs.
And more dates to come in Summer 2017.
All shows will be posted on the website at:
Folks interested in my music can subscribe to my e-mailing list there too, listen to lots of song samples and purchase the music.

Newfoundland has a rich history of folk music but you have documented many tales in Alberta which you have shared through song, what kind of stories inspire you to communicate them?

Stories of resilience and grace in the face of adversity.
Stories of courage and compassion.
Stories of so-called “ordinary” people doing extraordinary things.
Stories of people standing up to injustice.

The most recent CD, Gathering, is devoted to celebrating those kinds of stories with songs of family, community, humanity and the love that fires our actions to make the world a better place. In keeping with Pete Seeger’s words (1994), “The key to the future of the world is finding the optimistic stories and letting them be known”, the songs range from historical and narrative to personal and immediate, inspired by social justice stories both global (Malala, When The Grandmothers Meet) and local (When I Was Young, How I Live).

Stories from our history that I think more people should know about, for e.g:
When I Was Young – inspired by the 1980s-90s work of indigenous rights activist Dorothy McDonald-Hyde for her community, the Fort McKay First Nation.

We Were Good People – tells the story of the 1932 Hunger March in Edmonton

In the Shadow of the Rockies – about Ukrainian Canadians forced into the Castle Mountain internment camp (Banff National Park) in WWI
I Cannot Tell You – the story of a Vietnamese refugee coming to Canada in the late 70s

The Ron Hynes tribute is Saturday, November 26, 2016. Please see the NLFC Website for more ticket information. Upcoming acts at the NLFC include Rosie and the Riveters and Jim and Penny Malmberg,

Interview Preview: Jayme Stone at the Arden Theatre

Jayme Stone graciously managed to spare a few moments for FOTR during his busy tour to answer some questions about his Lomax Project, an album which encapsulates the folk process in action!

As a banjo-player well versed in the history of the instrument it seems reasonable that you would be familiar with Alan Lomax’s work in a general sense, yet the tunes selected for Jayme Stone’s Lomax Project demonstrate a deep knowledge of and engagement with the breadth of Lomax’s work. How did you get started utilizing Lomax’s recordings as material for shows (and ultimately a recording)?

I started listening to field recordings 22 years ago when I took up the banjo. Lomax’s recordings have been a touchstone for a long while but it was reading John’s Swzed’s riveting biography, “Alan Lomax: The Man Who Recorded the World,” that really instigated the project. I started listening voraciously and the book brought the stories behind the songs to life.

For Africa to Appalachia you made your own field recordings (like Lomax did) do you feel a responsibility to contribute to the collecting aspect of Lomax’s legacy?

I made recordings when I travelled to Mali in 2008. I was interested in instruments that predated the banjo, like the n’goni, and there were few commercial recordings available. I wanted to document the people I was meeting and capture the sound of these instruments in their natural environment. I’ve never released them—they were purely for my own learning process.

In the late 1990s Wilco and Billy Bragg set unheard Woody Guthrie lyrics with the Mermaid Avenue albums, and more recently The New Basement Tapes have set some of Bob Dylan’s. Your Lomax Project on the other hand takes whole songs and reimagines them; do you feel that there is a similarity between the three projects?

Conceptually, I suppose there’s some similarity. That said, those other projects were about crafting new songs around old lyrics. We didn’t do much of that. We kept original melodies (for the most part) and focused on creating new arrangements and reimagining how these songs could be heard. I’ve heard a couple tracks from Mermaid Avenue but not the Basement Tapes so neither were an influence.

How have audiences responded to the recording and tour? Have you found that people are going back to the “original” recordings of Lomax and becoming more familiar with the cultural history that he archived?

People are moved by the songs and stories behind them. The chemistry of the musicians I’ve brought together is always powerful. It feels like a community gathering and that energy is contagious. Some people certainly go back to original recordings and we encourage that. I wrote 6000 words of liner notes for the album and share all the details so folks can trace the provenance of the songs.

One of the tunes, track ten “Now Your Man Done Gone” isn’t actually based on a Lomax recording, but a recording made by Harold Courlander — do you see the Lomax Project as a way of engaging your audience with the vast recorded repertoire held at archives such at the Association for Cultural Equity (ACE) and the Library of Congress (LOC)?

Yes and in fact, my forthcoming album, Jayme Stone’s Folklife, branches out to the larger Archive of Folk Culture at the LOC and the Smithsonian Folkways collection. It’s been great to focus on the Lomax archive exclusively, but there are many other fantastic collections and folklorists doing similar work and it’s time to branch out.

In a 2015 interview with Brianna Goldberg of the Toronto Star you noted that “It’s like each style of American music is a different recipe of European- and African-American influence.” Following this analogy are there any specialty (music) dishes in the Lomax recordings that you have discovered a particular taste for?

I adore the Caribbean recordings and always come back around to the vast repertoire of shouts and spirituals from the Georgia Sea Islands. 

Accompanying the Lomax Project are extensive liner notes. Do you think the providence of a tune is important for the audience? The performer?

Having a connection to a song’s history helps me foster a deeper connection to the music. It’s also balances out the fact that we often take the songs in a decidedly more modern direction. I feel better branching out when I know the roots. Plus, I’m simply fascinated by the rich history of this music!

In his preface to Folk Song U.S.A.†, Alan Lomax said:

“If these songs had composers at first, they have largely been forgotten, and rightly so, since folk composers are adapters of old material rather than creators of original set pieces. The folk ballad-maker prefers to change an old song slightly to fit a new situation, making use of a tried tune and a well-loved plot formula and thus assuring himself of the favor of his audience. Every singer may then make his own emendations, to be accepted and passed on or rejected and forgotten by his audiences. So the mass of a people participate in folk song’s growth, forever reweaving old materials to create new versions, much as an old lady creates a new quilt out of an old by adding, year by year, new scraps and patches.” (viii)

Do you feel that the Lomax Project is partaking in the tradition that Lomax describes here?

Absolutely! This is the folk process in action.

So in a sense you’re making a new musical quilt? 

I believe so.

Do you plan on continuing the Lomax Project with more recordings?

Jayme Stone’s Folklife will be out in March on Borealis Records.

Is there anything else we didn’t ask that you’d like to say?

Thank you!


Folk Song U.S.A. is an 111 song collection published in 1947, collected and adapted by John A. Lomax & Alan Lomax including musical arrangements by Charles & Ruth Seeger.


Some of the source recordings (available online) for & about tunes included on the Jayme Stone’s Lomax Project album:

1 Lazy John
[from Lomax’s commercial album Raise a Ruckus]
2 Before This Time Another Year
3 Shenandoah
4 Goodbye Old Paint
5 Sheep Sheep Dont’cha Know the Road
6 I Want to Hear Somebody Pray
7 T-I-M-O-T-H-Y
8 Hog Went Through the Fence Yoke and All
9 What is the Soul of Man
10 Now Your Man Done Gone
[from Folkways album Negro Folk Music of Alabama]
11 The Devil’s Nine Questions
12 Bury Boula For Me
13 Julie and Joe
14 Susan Anna Gal
15 Maids When You’re Young
16 Prayer Wheel
17 Old Christmas
18 Whoa, Back Buck
[recorded several times, JS recommends the Golden Gate Quartet version]
19 Lambs on the Green Hills

Many of these tracks have introductory segments and feature multiple takes, these are just a few of examples. Take some time to explore the Lomax tapes that inspired Jayme Stone’s Lomax Project!

Jayme Stone’s Lomax Project is coming to St. Albert’s Arden Theatre November 12, 2016. For more information on tickets and The Arden Theatre’s Professional Musical Series, please visit their website.

Interview Preview: Fortunate Ones at the Arden Theatre


Andrew O’Brien from Fortunate Ones had some time to chat with FOTR.

How has your tour been going so far?

The tour has been fantastic. Too often stops in Saskatchewan only include Regina and Saskatoon. It has been a real education, getting to see and experience smaller towns in the province. Saskatchewan is an exceptionally beautiful place and the people we’ve met have been so welcoming and kind. We’ve also been setting up/mixing and tearing down our own sound system each night. Historically, we’ve been spoiled by having sound people and equipment provided so at first we were a little hesitant about the the time and effort it was going to take to do it all ourselves but it has been surprisingly rewarding and we’ve gotten it down to a science!

You’ve previously mentioned that the more your tour Canada the more it feels like a unified country instead of being from Eastern Canada or Western Canada, why do you think that is?

The music of this country is so diverse but it is that diversity that binds us and brings us together. We run into fellow musicians and friends as we travel from coast to coast and we see ourselves in them. We’re all out here trying to make a living at doing what we love. Rather than feeling a sense of division or competition we have come to see that there is an empowering community of like-minded artists in this country. This sense of community has been the greatest takeaway from this career. It really doesn’t matter if you’re making music in Vancouver, Saskatoon or St. John’s, we’re all trying to achieve the same goals.

There is such a strong folk music culture from your home province of Newfoundland. What do you think it is about NFLD that produces such accomplished musicians?

As Newfoundlanders we are fiercely proud and protective of our cultural heritage. We come from a culture of storytellers and singers. This sense of entertainment is almost certainly rooted in the geographical isolation of living on an island. When people started to settle in Newfoundland they brought with them oral and musical traditions from Ireland, England, Scotland, France and other regions and over time this melting pot of cultural styles has morphed into a patchwork that we think of as traditional Newfoundland music. The wonderful thing, now in Newfoundland, is that “folk music” is not solely recognized by the traditional instruments that have come to define it, rather it is a multi-genre art form that has grown exponentially over the last number of decades. It’s either that or there’s something in the water.

In the initial stages, you both were musicians in larger bands, do these larger collaborative interests still exist for you as Artists or do you find more drawn to the duo work in Fortunate Ones?

The urge to collaborate is always there and I think that is partly due to the fact that we have surrounded ourselves with such talented and inspiring people. We love what we do as Fortunate Ones but are definitely excited to expand on our sound and performances. We are looking forward to see where our next album will take that journey and will most definitely be calling on our friends to help us in that exploration.

How do you continue to challenge yourself as Artists and stay accountable to one another in your artistic vision?

We write and perform music to express ourselves and to connect with people. That connection is a powerful thing and strengthening that bond is always the goal. We always try to create work that comes from a meaningful and honest place. If we don’t hold ourselves up to a creative standard and level of honesty in the work it would be difficult to get behind the music. If we can’t stand behind our work then our fans won’t either.

Previously, you have mentioned that time is a present theme in your music, do you find that communicating through the medium of music helps to make a transient thing like time feel more permanent by capturing the moment in music?

We’ve written many songs about time, it’s passing and it’s effect. I’ve yet to come to comfortable terms with it and I suspect my trepidation surrounding it will continue to be a central theme in our creation. I can’t think of anything specifically that feels as though it has a true sense of permanence. All good and bad things fade with time. There is a joyful sorrow in moments as they pass. It’s really quite beautiful and serene to know how utterly minuscule we all are.

Is there something you would like to mention that I have not asked?

We have a Christmas EP called All Will Be Well coming out this Friday, November 4.  All details can be found at

Fortunate Ones performs at the Arden Theatre Friday November 4, 2016. For more information on tickets and The Arden Theatre’s Professional Musical Series, please visit their website. Some upcoming Artists include: Aoife O’Donovan, Jayme Stone’s Lorax Project, David Myles, and The McDades.

Fun Fact: The last time Folk on the Road saw Forunate Ones was at the Winnipeg Folk Festival.

Interview and Preview with Birds of Chicago


The New Moon Folk Club prepares to welcome Birds of Chicago, comprised of Allison Russell and JT Nero, who will be performing this Friday.  This is Birds of Chicago first Canadian tour and Edmonton audiences will be delighted by their soul, gospel, and folk inspired tunes that conjure images of sultry summer heat. JT Nero, takes some time to chat with Folk on the Road before the show.

How has the tour been going so far?

Great.  The rooms have been full of humans, folks have been spoiling us … there are homecomings at a lot of these stops for Alli, who has family scattered across the country — and, of course, I made this trek a fair few times with Po Girl.

How do you feel audiences have been receiving Real Midnight since its release in February?

I feel like it’s been hitting em them in the sweet spot we hoped it would. It’s a cathartic bunch of songs for us, and it seems as though a lot of folks are needing to wring themselves out in a similar way.


You’ve discussed the transformative and healing power of music, could you share a moment in which this was true for you?

There are lots of instances in which people will let us know that a lyric or a song has helped them through a particularly rough patch, and nothing in the world makes us happier than that… but as far as personal healing, it’s literally a daily thing – sort of a small and abiding miracle: you can feel miserable, sing a song about feeling miserable, and come out feeling LESS MISERABLE. Where else can I get that kind of trusty magic? Nowhere. Not that you feel miserable every day. But that you can transport through song — get yourself to a different place.. that’s the thing.

JT, you’re identified as the main writer for Birds of Chicago and Allison as the song interpreter – what does this collaborative process look like when you are beginning to work through a song for the first time together?

I play her a new song I’ve written for her … while she’s listening to it for the first time, I’ll hit pause every few seconds and say “do you like it? Do you love it?? You hate it, don’t you!!? I KNOW YOU HATE IT!!”
Uh, seriously, I try to skeleton a melody for her and a phrasing — but I am careful not to box her in too much, since she is such a masterful phraser and can do so much more with her vocal instrument than I can… I make sure to leave as much room for take it where it needs to go.

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Folk on the Road first saw you perform at Mariposa Folk Festival in 2014. At that time you had a little one with you on the road, has touring with the family changed at all in recent years?

Our babe is not a babe anymore – she’s a toddler with the disposition of a grizzled rocker. In all seriousness, she’s 3 months shy of her 3rd birthday, which I am fairly certain is a challenging stretch for all parents (right?) and it’s no different for us on the road. She’s a wonder of a human, with endless energy, and we have to make sure we are building park and library stops and such into our schedule. It actually makes for healthier touring all around

Any concluding thoughts you would like to mention?

This is our first proper Canadian tour, and we are so jazzed by the response. We are going to get back in the studio in January, then hopefully make it back to Canada in the summer for some fests.


The performance is Friday, October 14. The performance is sold-out. There will be no tickets at the door.

This preview is co-written by Sable and Twila.

Upcoming shows at the New Moon Folk Club include: Tom Russell and Danny Michel. For more information on their season, please see their website.

Art & Activism: An interview with Rosie & the Riveters

Completing a triptych of Saskatoon performers Rosie & the Riveters captivated the Saturday audience of the 2016 Jasper Folk Fest while a full rainbow emerged from the grey gloom and hung over the valley. The upbeat tunes and tight harmonies of the vintage-folk inspired quartet stayed with me all weekend, and on returning to Edmonton I was delighted to get in touch with Allyson Reigh of Rosie & the Riveters to ask her some questions about female empowerment, social change, education and the Riveters’ home province.

During your live show in Jasper a story about the inspiring vitality of one of the Riveters grandmother’s was shared, and on your band blog there are mentions of other inspiring women. It seems obvious that you feel that it is important to model this empowerment of women, how is being an all female musical group important in your goal to share music about the empowerment of women?

Rosie & the Riveters was formed back in 2011 when Farideh Olsen had the idea to get a group of female singer-songwriters together who were interested in collaborating and building something unique and different. We initially came together to support one another and hone our craft and things sort of just grew from there.

On one hand, it works really well that our band is made up of all women and as a group we’re very vocal about the importance of women supporting women. We know lots of men who would be great additions to the band – in fact we did a big CD release tour last fall and brought three men from Saskatoon as our backup band – but arranging more than four individual schedules is tough so we’re sticking with just the four of us for now!dsc_0434

What do you hope to communicate to your listeners by portraying women in this way through your music?

One of our biggest goals in putting ourselves out there is to show that women can and do work well together. All you have to do is turn on the TV or read a magazine and see how common it is to criticize and tear people down, particularly women, rather than build them up. We’d love for people to see our band perform or hear our music and know that there is genuine love and respect for one another; that it’s possible to admire and be happy for another woman’s success without questioning your own value or talent.

We take turns singing lead while the other three sing back up and we’re having a helluva time doing it!
Twenty percent of your merchandise sales go toward supporting women’s projects at Where did this idea come from?

We wanted to use what we’ve been given and help other women around the world, particularly those working in the arts. A lot of research has shown that investing in local female entrepreneurs can have the greatest social and economic impact because women play so many different roles in their communities. Essentially, the empowerment of women has the ability to support entire communities in the long run.

Do the Riveters get together to pick which Kiva projects to support?

We take turns choosing which projects to support. Generally speaking, they’re usually arts or textile-based businesses.

Have you seen first hand your support of Kiva makes a difference in women’s lives?

Kiva posts updates on projects fairly regularly, so in that sense we can all keep updated on projects we’ve lent to. I spent six months living in rural Ecuador a couple years ago in a community that has benefited from investment through Kiva. So I’ve seen some of the direct benefits of microfinance loan initiatives firsthand, also within the arts and textile sectors.

Education through music is another element that permeates Rosie & the Riveters online presence. What kind of music education experiences as young musicians did you have?

Between the four of us we’ve got all kinds of musical experience. Two musical degrees, countless years of picking up instruments in our homes and teaching ourselves, a musical parent who still tours and performs in different groups, semi-professional choir experience, classical vocal training, musical theatre training, years of jamming with other musician friends, and probably a million campfires where someone passes around a guitar and everybody learns the tune. We’ve got a pretty eclectic background but we all just genuinely love music.

As for education through music, we’re all big fans of songwriters with something to say. I definitely believe that art and activism go hand in hand and Buffy Sainte-dsc_0416Marie and Joni Mitchell are two of my personal favourite artist-activists who both just happen to be from the prairies!

Have you modelled your own teaching after any particular instructor/mentor? If so, how?

We like to say we take our inspiration from a lot of places – the sweetness of The Good Lovelies, the soul of Mahalia Jackson, and the vintage touch of The Andrews Sisters – combine all that with our very own sass and charm and voilà! You’ve got Rosie & the Riveters.
Music is often about universals. Song lyrics will typically speak about love, heartbreak, family and place. Rosie & the Riveters songs seem to focus on the positive as the universal, and not necessarily the scenario or situation of the song. Has this always been a conscious choice?


We choose to focus most of our energy and song writing on positive things in general. It’s so easy to feel sad for all the horrible things going on in the world, including our own backyard. The Husky Energy oil spill that polluted our beautiful North Saskatchewan River this summer was heartbreaking and incredibly maddening all at the same time. We do sing songs about the environment (covers and original music), and we have a song or two about ex-boyfriends, but in general we want people to come to our shows, forget their troubles, and leave feeling happier than when they walked in.
Does the Rosie & the Riveter approach to song writing differ from your solo music projects?

The overall goal with our solo projects and Rosie & the Riveters is to create meaningful art that impacts the listener in some way. So in that sense, writing and performing solo or as Rosie & the Riveters is very similar.dsc_0406

Rosie & the Riveters proudly hail from Saskatoon – what is your favourite thing about Saskatchewan and what place should we check out the next time we are in the land of the living skies?

One of the things I love most about Saskatchewan, other than the gorgeous sky, is that it feels like a hidden gem that hasn’t ever been really been properly appreciated, which means it’s not flooded with tourists. Whether you’re here in summer or winter you’re never far from an outdoor adventure – kayaking, camping, paddle boarding, skiing, snowshoeing – the list is endless!

Rosie & the Riveters have shows lined up through 2017, check out their tour dates here!

An Interview with The East Pointers at EFMF



The East Pointers may appear like newcomers to the traditional music scene in Canada but each individual member has amassed performance experience in a wide variety of genres from country to folk. Comprised of Koady Chaisson (KC) on Banjo and the resident step dancer, Jake Charron (JC) on Guitar, and Tim Chaisson (TC) on Fiddle; the trio are a musically proficient generation of Traditional musicians based out of Charlottetown, PEI. Their debut album, Secret Victory, is primarily instrumental music compositions with some singer-songwriter tunes in the mix as well.

Their down-to-earth likeability and passion for music is evident as they begin their interview with handshakes and hugs all around. Their enthusiasm to be at the Edmonton Folk Music Festival is evident with Tim noting that EFMF is one of his favorite festivals, “They treat us so well out here, it’s so organized, it’s amazing!” They also had the time to check out some of the other musical acts with Jake noting his excitement to see Dervish, “They’re staples in the Trad music scene. It’s great to see what they’re doing out here” and Koady’s love of Dreamer’s Circus.


How do you make Traditional music accessible to modern audiences?

KC: Drop the bass!

JC: We’ve got a couple little tricks to fatten up the sound a bit. We’ve got a bass pedal, stomp box, and traditional tambourine. We’re trying to make as big a sound as possible in order to be able to play these big stages and be comparable to these big bands. We’ve been writing new tunes and hope people will like them.

Why did you decide to incorporate aspects of singer-songwriter tunes as well into your  instrumental approach as well?

KC: I feel with this style of music, there are the diehards that like strictly the tunes. For a broader audience, it’s always nice to sprinkle in a bit of song to change it up a little bit. Plus, we love it! It’s been fun writing songs. I’ve always written tunes, but songs are a new thing.

TC: With songwriting, we grew up listening to Traditional Celtic music. But obviously, you’re exposed to many types of contemporary music like the radio. You grow up playing fiddle tunes but then you hear top 40 and think, “that’s cool too,” and go back to playing fiddle tunes. You subconsciously hear all those melodies in your head. It’s cool to incorporate a bit of contemporary song-writing style into playing tunes.

DSC_0509Is there any fear of missing out on an audience because you’re playing Traditional instrumental music?

TC: There was no pressure in the band. It was very organic. We would get together to play tunes and have a few beers and play tunes all night. And thought, “we should start a Trad band!” and we’d laugh about it but none of us had time to do it at that time. But organically it kinda grew so there was no pressure from the get-go.

What is it about Trad music that connects to people?

TC: It’s in everyone’s blood. Maybe, not everyone, but it’s such an old style of music. It’s been around from the beginning of time.

KC: There’s always been dance music. We seem to have forgot that fact about Trad music. It’s actually dance music. There’s EDM dance music but there’s actual dance music that goes back hundreds of years. All of you have to do is expose people to it and they can see that rhythm that is very danceable. The music, as Tim said, with the Irish, Scottish, and French in Canada, the music resonates with so many people.

TC: Our parents were advocates to keeping the tradition alive. As teenagers, Koady and I were shy to step dance or play the fiddle in front of others because none of our friends are doing it. But now, it’s such a good thing to do!

When did Trad music become a cool thing to do again for you?

KC: When I got old enough to realize it doesn’t matter what certain people think. If it feels right for us, if it’s fun for us, then hopefully that is expressed through our tunes and on-stage shenanigans.

TC: It’s interesting to see people shy away from it at a certain point because you’re influenced by friends and popular culture. But you tend to go back to it, because it’s in you, and it’s part of your make-up.

JC: There seems to be a bit of resurgence of acoustic music in popular music. There are successful bands out there playing acoustic instruments that comes in waves over the years.DSC_0249

Why was it important to incorporate step dancing, Koady, into your live shows?

KC: I think it might loosen the crowd up a bit if one of us gets up and step dances. In our family, from the time you could walk, you danced to this music. It was your initiation to the music besides always being exposed to it. My mom taught me how to step dance when I was a little kid. It’s so funny, when I talk to mom she says, “I’m so happy you’re still doing those steps I taught ya!”

TC: Are some of those Donna Chaisson specials?

KC: I’m literally stealing my mom’s moves. How cool is that?!?

Do I sense a dancing throw-down?

KC: She would dance me under the table. She’s an amazing dancer.

You all have different genres of music experience coming to Trad music. How do those experiences influence your work in The East Pointers?

JC: We all grew up listening to a lot of different music. We draw from that when we’ve been writing music today, it’s not just Traditional. It’s everything we like that we try to put into our music.

TC: We don’t purposely go out to a certain style; it comes in somehow.

KC: I love danceable music and I feel like we just want people to dance.

Do you think we’ve lost some of the dancing magic?

KC: Everybody is so self-conscious about what their neighbor thinks. If you all just danced, then it just gets crazy.

You have all had diverse occupations from lobster fishing to personal training, when did you all switch to professional musicians?

KC: I didn’t really enjoy lobster fishing. I always wanted to be a musician. I feel like I was biding my time until I could navigate that path to get out of lobster fishing. It was a good job, don’t get me wrong. I always dreamed about being able to play music and whenever this band started that was my number one goal: We have to make it successful enough so I don’t have to go lobster fishing again! I haven’t lobster fished in the past two years so things are going alright.

TC: I did work on a potato farm, and I worked in a fish plant, and substitute taught. I did rough it out for a bit. I’ve been playing music for a long time doing solo stuff. I always loved playing music and I’d play with different artists over the years. Nothing beats doing what you love.

JC: Same sort of thing, I guess. I didn’t necessarily think I’d be doing it for a living but it was always what I loved to do the most and eventually realized what I should be doing. I’m really happy to be doing it.


Is it difficult to multi-task when you have other musical commitments in terms of solo work or accompanying other groups?

TC: The East Pointers has been so busy especially the last year. It’s been so amazing and we’ve been working with great people in different countries and get to travel to places we’d otherwise never go to. As far as I go, I’ve done a few solo shows in between and always writing different kinds of stuff.

JC: It’s been a priority for us to get this band up and going.

What is your group songwriting process like?

JC: You come up with little ideas on your own. We’ve been together for the past 8 months on the road and been writing stuff on the go.

KC: That’s something I’m grateful for. There are lots of bands for one reason or another, they find it hard to write on the road. When you’re traveling to such beautiful places, it’s pretty easy to get inspired to write. Festivals like Edmonton and Winnipeg, when you’re there and you hear the music, something happens inside and you think: “I wanna write and I wanna grow as a writer and musician.” We all feel the same way in that way. It’s inspiring to be places like this. The people are amazing. The music is amazing. It’s just happiness.

What wDSC_0121ere the first instruments that you all began to play?

TC: Fiddle came first for me.

KC: Step dancing and then fiddle was my first instrument.

JC: Piano but we also had fiddles around the house all the time so I was playing that pretty young too.

TC: There was just a bunch of instruments kicking around the house. I had a bunch of older brothers that played drum and bass and guitar. So fiddle then drums and guitar.

KC: That’s something else I was happy about: [being surrounded by instruments]. “I’m going to play a mandolin because there’s a mandolin in the house!”

TC: My brother hated when I played his drums. He got so mad when I was done playing them.

KC: I remember that! He would check the drums sticks!

TC: I would play drums for four hours while he was gone and put everything perfectly back. My dad was a piano player so he didn’t mind me playing his piano.

How is it being programmed in the more Traditional music sessions when you attend folk festivals now?

KC: It’s different in the different countries that we tour in. In Australia, they put us in dance spots and people just dance their faces off. It’s awesome. I mean, I like both. It’s an honor to share the stage with some of the bands we’ve done workshops with. The fact that you’re up stage with them is humbling. I love when people dance. I don’t know if I mentioned that 🙂

DSC_0505What are some of the future goals for the group?

TC: I think more of what we’ve been doing. We’ve been fortunate over the last little while to travel and play different festivals and meet great musicians. We’re working on a new record and working on a lot of tune writing. What’s the ultimate goal? It’s great to make people happy and keep people smiling.

JC: It’s exciting to grow as a band and really excited to get going on the new record. Get touring and playing for different people. Hopefully, we’ll be back here again someday too.

KC: I never thought that playing this style of music could take me the places it has taken me. The places you’ll go! We’re going to Spain in a couple of months. That is something that blows my mind. I think the goal is just to see where it goes. It’s been a great run so far and it’s only been a couple of years.

Do you ever have any checkpoints throughout this process?

TC: I definitely take moments to realize how fortunate to just play music and tour. I try to take moments to stop and sometimes on stage like today look up and see people dancing. Trying to be in the moment and realize it’s a beautiful thing.

KC: I try to live in the moment. I don’t necessarily do it all the time.

JC: We definitely don’t take it for granted to play at festivals like this.

TC: As a musician, there are so many years to work towards something. I remember thinking: “Oh, it would be so cool to play festivals every weekend and tour full-time.” I don’t forget pushing through to make that happen. Now that we’re actually doing it, I don’t take it for granted.

Do you find it’s a challenge to acknowledge your achievements as well as move forward?

JC: To be successful, you need a bit of both of that: You have to recognize where you’re at but see where you need to get to – keep moving forward and not be satisfied with where you’re at.

It is clear that The East Pointers are only just beginning their work to revitalize Traditional music for a modern generation of listeners.

An Interview with Chloe Albert at EFMF


Chloe Albert enters the media tent with a sense of exterior calm amongst the festival frenzy. Numerous accolades surround Albert, an Edmonton based singer-songwriter, with a 2014 Juno Nominee and Western Canadian Music and Edmonton Music Awards for her most recent album, Dreamcatcher.

This is Albert’s second time performing at the Edmonton Folk Music Festival; she notes with a smile that the first time she was on Gallagher Hill, she was just a bundle of nerves. She exudes the patience of an Artist that has the stamina to build her career in gradual manner.

Tell me about a formative musical moment in your upbringing.

C: For me, actually, it was Lilith Fair, probably around 15 years ago. Right around when I bought my first guitar was when Lilith Fair happened. There were all these women and artists I really loved and looked up to. The merging of those two things together at the same time was when I got excited about it and thought: “I’d really love to do this!” I was always really shy and performing was not something I did otherwise. It was struggle to get out but I love the rush of it.

Are you ever surprised about people’s connection with you through your music?

C: That’s my favorite thing ever. Even at this Festival, I still have this idea in my head that I must know everybody who listens to my music because I must have a relatively small fanbase. However, CKUA has a really broad reach. Even at this Festival I’ve had people say they’ve been listening for years. A kind gentleman yesterday, said to me: “your voice has stopped me in my tracks so many times over the years,” that still surprises me and makes me feel really good. A lot of times you really don’t have a way of knowing. Not everyone is on social media and even if they do they might not reach out.

What made you decide to pursue music as a profession?

C: It really changed year to year. Fifteen is where I thought: “Oh, I want to do this.” I was really naïve, I didn’t know the road ahead of me that was awaiting. This is embarrassing to admit, but I kinda grew up in a time where my favorite singer/songwriters were discovered singing on a street corner. I wasn’t too worried about it. I played some open mics and I was interested in traveling. I wasn’t too worried about pounding the pavement and thought, “someone will discover me!” Then I put out my first record and that changed things a lot.

Then I took music in college. I was in college taking a Bachelor of Arts program, I felt like a fish out of water. I enjoyed it but I didn’t feel like I was in the right place. My mom suggested the music program cause I’ve always played music. I wasn’t hoping to go to school for music but it ended up being the best. That’s where I got my first glimpse of the idea of playing music and not necessarily having to be a superstar. Many of my professors have been jazz musicians and played music for their whole lives in Edmonton and Alberta. I remember thinking, “that’s so cool!”

I have a local band I play in here with some of my best girlfriends. Now it’s really nice because when I’m taking a break, I had a baby last year, not taking a break from my own stuff but focusing on writing and not performing. And this band can keep me busy and pay some bills. It’s been an evolution. Between my first and second record I knew that [a career as a professional musician] was possible and this was what I wanted to do.

It sounds like post-secondary education seemed like a positive move in your training.

C: Just the level of musicianship was so high and was something to strive for. Hearing that practical side of making a living while playing music. It was really positive.

Even the world of grant writing was important to learn about, which as an independent artist, you really need to know. That was really important because grants funded both my albums. It gives you the power back from “maybe I’ll get discovered someday!” to “I’m going to apply for some grants and I’m going to get the work.”

Motherhood is a new component into your various roles. Do you enjoy the diversity and change each of your roles offer?

C: I knew I wanted to continue to play when I had a baby. Singing and playing is the same as exercise, if you stop you gotta to start from scratch again and you’re out of shape. It’s definitely a juggle that I’m still adjusting to. I’m still trying to do everything I was doing before and obviously there’s this beautiful, human being that I’m taking care of so that takes a large portion of my time. The first year I was putting no pressure on myself. I was enjoying motherhood and performing every couple of weeks. Now I’m starting to find the balance. He’s 1.5 now so it’s a little more structured. I’ll probably be figuring out this juggle for the next while. It’s good, it’s fun!

Do you feel like motherhood has introduced a new perspective to your work?

C: Not so much. The most common question I get asked is: “now that you have had a baby, has this inspired a whole bunch of new songs?” Not yet. Well, like I said, for the first year I didn’t write at all.

I just attended a writing workshop in Nashville last week and I found that when I was focused on it and delving into it, I find that I do have a lot to say and maybe I haven’t realized it. But now it’s all starting to bud.

Do you have general guidelines in your songwriting session?

C: The most important ingredient for me is the inspiration behind the song. There has to be this inexplicable thing when I’m playing my guitar. It could be a lyric or a melody. You either get a feeling or you don’t about it. That is the sacred special piece of the song. What often happens, the way I write, I get that bout of inspiration that comes to me and from there I work outwards from there lyrically and melodically. Sometimes when you’re writing, you can lose the essence of why you’re writing. Sometimes in co-writing or if you go back to the song many times and re-write it, you can lose the essence. Not getting too caught up in, for example, as far as lyrics are concerned, there can be a lot of rules.

But really, there are no rules, because it’s art. In the last five years taking songwriting classes, really focusing on a lyric needing to be a certain way, I find sometimes you can compromise the essence of trying to make it fit into a box. That’s another learning and juggling act to dance around that fine line. I’m really pulling back now and realizing I was focusing too much on framework and structure and sometimes that can take away from the magic of the song. What I found generally speaking is that there are always exceptions to rules. You think, “that song one of my favorite and it doesn’t follow any of those rules.”

Do you have any checks to see if pieces work?

C: Before I used to be: “when a song is done, it’s done!” But now I’m more open to people’s takes and opinions. I want to be making music people enjoy. I’ve been writing a few new songs for the new record and I’ve been doing that playing it for friends or sending voice memos to family. I’ve also been trying them at smaller shows to get some feedback.

What do you enjoy about being a working musician based out of Edmonton?

C: Surprisingly, people think of Alberta of being oil country but we have a phenomenal Arts community. Having toured Canada now and traveled as an independent musician – that was when I realized how great Alberta is. Calgary has six folk clubs, Edmonton has two or three, that’s more than most cities!

The CKUA Radio Network is a huge part of keeping this circuit alive amongst folk independent artists. I find Alberta has been really great. The other is the corporate world. If you are dabbling in both, like I am, it’s really great here. There’s a wealth of Arts funding.

With social media coming into play, there was a time 10 years ago that I did feel the pressure to move to a bigger centre like Toronto, Vancouver, or out of Canada. But now, I feel like it’s not necessary. There’s the internet and you can share your music that way.

What is moving you forward in the next few years?

C: The thing that really drives me is the fulfillment of creativity. That’s why I love songwriting. I hope to continue to have a rich experience of collaborating with people and writing music. Ultimately, I’d like to be playing for larger audiences and touring more.

It is evident that this calm resilience and pursuit of songwriting excellent will continue to fuel Albert’s artistic work into the future.

An Interview with Post Script

Photography by Twila Bakker

On a hot Saturday afternoon at the Edmonton Folk Music Festival, Edmonton-based band, Post Script, joins me to chat about their first time at the Edmonton Folk Music Festival.

S: Steph Blais – Vocals and guitar
P: Paul Cournoyer – Vocals and bass
B: Brayden Treble – Vocal and guitar

What is the significance of playing the Edmonton Folk Music Festival for the first time?

S: We started with the in-betweener set and that’s just pushing you right into the middle of the festival. It was really amazing to see everyone on the hill. The hill looks different from the Mainstage.

P: My parents brought me [to EFMF] when I was not even a year old yet. Thursday I was so nervous about going backstage. I’ve never allowed back there! It’s very nice recognition. It’s a lot of family and friends you know watching you so it’s emotional in that way too.

How was Post Script initially formed?

S: It started off with me and Paul. We have been dating for four years and about three years ago my brother said: “You’re both playing music separately, I want you to open for my show and you guys are going to do it as a duo.” And I said, “I don’t know, Justin, we can try it.” We rehearsed a few times and opened up for my brother at the Yellowhead Brewery. Then we started writing more songs and recorded a small three song EP and started growing from there. About a year ago Brayden, started playing with us. Brayden has known Paul for a while from school and once we started playing together it felt more complete. Our goals and ideas of what we wanted to sound like came together once Brayden joined us. Now we are done our full-length album, If Not For You, and are promoting that for sale here this weekend.

Can you describe the process of how your sound began to solidify once Brayden joined Post Script?

S: It was always just me and Paul, which was fine, but we had an idea of make our sound a bit fuller. Brayden adds a lot guitar wise. I’m very simple on guitar and Brayden is one of the best. We’re really a trio where we bring in our own ideas and songs into the project. Now it’s really a collaboration.

P: It builds up the musical palette with bass, guitar, and voices. It glued everything together and filled in the spots we couldn’t do as a duo.

What do your collaborative songwriting sessions look like?

S: It depends. I could have written a song and I might not be sure about it yet but I bring it to rehearsal or I show the lyrics to Paul and I’ll play it for Brayden. They might say: “I hear this” or “change a few of these words.” We try to workshop it together and adjust to the way we want to sound a trio. We all write and bring it together into the project to voice our opinions.

How do you acknowledge your Franco-Albertan roots in the ensemble’s sound?

P: In terms of songwriting, we go with the flow. It’s important for us to recognize the opportunities we have had to develop through French music and mentorship. We want to recognize that those are our roots. It’s a good way to breakdown language barriers. People seem to enjoy it when we play French songs even if they don’t understand; to let them into our universe and to make it more of a shared experience.

When did you realize you had the potential to move forward as a group?

B: They gave me their three song EP and I immediately played it in my car. Honestly, I can’t tell you how many times I listened to it. By the first rehearsal, I already knew all the chords. As soon as I started playing with these guys, I thought: “This is it.”

How was the process of recording the album?

P: As we worked on it, it started casually and then the arrangements got fuller. We started in November 2014 and finished it in June 2015. We took a long time to look over the songwriting and arrangements.

S: We’ve matured a lot in the past few years. In terms of songwriting, we have more experience and we’re more comfortable with each other. For the first EP, those were the first songs we had written. We’ve grown a lot through the process too.

B: You can take songs in different directions, even dynamically, that changed a lot.

P: You can rock out a little more.

Are there certain things you consider while songwriting?

P: I personally try to take an approach that there is no wrong answer. I think especially when you’re starting and put it all out. The biggest rule is: try to be honest. Whatever story or concept you’re writing about – you’re committing to it and you’re being truthful.

S: Delivering the message and intention of what you want to say. A lot of our songs on the record are personal. Brayden also brought out our fun side. For me, personally, sad songs are fine, I can write a sad song anytime. Writing a fun song that can make people happy, it’s the hardest things for me to do.

Why do you think that is?

S: I think when I’m happy I want to be out and about. Doing fun things and seeing my friends. I don’t want to be in my room writing a song by myself. But when I’m sad and upset, I want to be in my room writing by myself.

B: Once you have a sad concept, it’s easy to wallow in that. Happiness is harder to hold onto.

Isn’t that an interesting human observation?

All: Yeah!

S: I’m really hoping I can write a happy song after this weekend!

What do you hope your audiences are taking away from your music?

S: The things we are writing about is personal but you can connect to it. When people walk away from our shows and have that moment: “I know exactly what she’s saying. I’ve felt that way before.”

P: I want them to walk away having fun too. To just enjoy watching and being there in the moment.

Is it challenging to be vulnerable in front of audiences?

S: I love that feeling. When I feel like I’m being exposed and people are getting what I’m saying, I get this feeling, it’s an amazing feeling. I feel like I’ve succeeded in transferring the message to the audience.

Is there a particular song that elicits this feeling?

S: Dear Marie and Impossible. We’ve recorded it on our EP and we re-recorded it for our album. It’s one of those songs when you go listen to a song live, and everything is really quiet, and you can’t stop looking at the performer. It’s kind of one of those songs.

What are your future goals for the group moving forward with the new upcoming album release on October 15, 2015?

B: More Folk Fests!

P: Getting out and expanding our reach. We’re very Edmonton based at the moment and haven’t done much touring. We’ve done Grand Prairie and Iceland. We’re hoping to hop across the country at some point.

Are there any dream venues you’d love to play at?

B: Massey Hall.

S: I love the Interstellar Rodeo.

B: Regina Folk Fest. That’s my hometown festival. I grew up going to the Regina Folk Fest. That would be huge to play there and all my family is from Regina.

P: The Dakota Tavern

All: We like Toronto.

Post Script’s album, If Not For You, will be released on October 15, 2015 and is now available for pre-order. Dear Marie is the album’s first single.