The Show On The Road – Steve Poltz

This week on The Show On The Road, we feature a conversation with a Canadian-born paraparetic prince of pop-folk singers, who has jumped through more gauntlets of the modern music industry than almost anyone in his three plus decades of making records, Steve Poltz.

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Poltz first hit the scene with the San Diego-based underground punk-folk favorites The Rugburns, then as an accidental hitmaker and MTV video heartthrob with collaborator and friend Jewel, and then as a wild-haired, two hundred shows a year internationally revered solo act. He’s put out a baker’s dozen of whacked-out, deceptively sensitive, and fearlessly personal albums that have won him devoted audiences from his ancestral home in Nova Scotia to the dance party dives of California to massive festivals across Australia and beyond.

 As we are still quite separated during the pandemic, host Z. Lupetin called up Poltz in Nashville to discuss the long and twisty road Poltz has travelled — jumping from his inspired, most-recent album Shine On back to his childhood in swinging Palm Springs (where he met Elvis and Sinatra), to making $100,000 music videos for his ill-fated major label debut in ’98, to nearly dying on stage after substance abuse problems and never-say-no-to-a-gig exhaustion took its toll.
 
We now find him in a more peaceful, purposeful existence, where he is newly married and enjoying making music at home (government orders!) for the first time in decades.

MIXTAPE: Mike McKenna Jr.’s Canadian Dream

We have some very chill vibes happening north of the border, so I’ve put together a playlist of my current isolation favourites, with a focus on the music scene here in my adopted home of Montreal. This is not a who’s who of club bangers or country twangers, although there’s a time and a place for both. Instead it’s my special collection of laid-back, Canadian, genre-fluid, slow afternoon-drive royalty. — Mike McKenna Jr.

Foxwarren – “Sunset Canyon”

I’ve been into this song somethin’ fierce lately so it’s at the top of the list, and it honestly makes me want to melt into my couch just hearing it now. If an ice cream sandwich started a band it would probably sound like Foxwarren, and no I don’t have any idea what I mean by that.

Deadhorse Beats – “Inglaterra”

When I first met Patrick Wade (AKA Dead Horse Beats) here in Montreal, through the small but tight-knit Nova Scotia community, we seemed to have skipped over the fact we were both musicians. Turns out he had some really fresh tracks up his sleeve, eventually showcased in his 2019 record Inglaterra, and since it dropped I’ve had it on repeat.

Hanorah – “Saturn Return”

One night I went out to meet a friend at a local dive bar, who told me she’d be singing backup for this artist named Hanorah. The bar was an absolute pile of trash, but as the music started this confident, natural voice cut through the nonsense… it was holiness.

Leif Vollebekk – “Elegy”

Another true Montreal gem, Leif is a piano and chill mastermind, with several other great songs from this album worth mentioning like “Vancouver Time” and “Into the Ether.” His music has a simple beauty and “Elegy” was a must include, or me getting stoned and making a playlist didn’t happen.

Buffy Sainte-Marie – “Helpless”

“Helpless” may have been written by Neil Young and first recorded by both Crazy Horse and Crosby, Stills, Nash & Young, but there is something raw and badass about Buffy’s 1971 rendition. She’s an icon, and this throwback has a little je ne sais quoi that I connected with as soon as it hit my ears.

Bahamas – “Lost In The Light”

The first time I heard Toronto-born songwriter Afie Jurvanen’s “Lost In The Light,” I was lost on a documentary binge, and it stood out while watching a short-doc about a guy from Nova Scotia living on a sailboat and cruising around the Caribbean. The melody cemented that image into my head; the clear turquoise water, the fresh fish, the freedom, the cool pocket knife… funny how vividly a great song can transport us somewhere.

Rosier – “Vie peníble”

This pastel-adorned, traditional turned indie band has strong roots in the folk music community here in Quebec, and it shows subtly throughout their youthful dream-pop songs à la française. My own newest release At the Edge of the World features two members of Rosier, so yes you’re right that I’m very biased, but unapologetically so.

Colter Wall – “Kate McCannon”

We’re deep into the session so we needed a dark horse, and “Kate McCannon” is not only an epic and old school tale, but my sister’s name happens to be Kate. So it sounds a hell of a lot like Kate McKenna to me sometimes when it’s on in the background, and then I have to stop whatever I’m doing and plan to avenge her death at the hand of this s.o.b. prairie boy. But honestly this song is captivating, vivid storytelling and I’m into it big time. Respect!

Andy Shauf – “The Magician”

The opening track to Andy Shauf’s 2016 record, The Party, sets the tone for an album written by an incredibly observational songwriter, and entirely about one awkward, eventful night. He’s the only artist to be featured twice on this list, and deservedly so, since he also happens to be the lead singer of Foxwarren.

City and Colour – “Sleeping Sickness”

This song reminds me of driving across Canada for the first time a few years ago, passing by fields and endless trees and more lakes than you could imagine. Although it doesn’t say in the title, “Sleeping Sickness” includes a guest spot by the late Gord Downie of the Tragically Hip, which makes this one a bit more special.

Geneviève Racette – “Magnetic Love”

My good friend, and a truly exceptional songwriter in both French and English, Geneviève Racette got some serious national attention last year after releasing her album No Water, No Flowers. It’s no accident that I placed this one right after City and Colour, since it was upon hearing her new track “Parachute” that lead singer Dallas Green became incredibly vocal about how strong of a record this truly was.

Jon Bryant – “Paradise”

People from my home in the Canadian Maritimes love to champion someone as our own, and even though Jon Bryant has relocated to the West Coast we know he’s a bluenosin’ Nova Scotian. “Paradise” is my favourite track from his new record, Cult Classic, and it demonstrates that he’s absorbed a lot of that laid-back, free-spirit energy BC is known for.

Mike McKenna Jr. – “At the Edge of the World”

It was suggested, maybe even encouraged, that I include at least one of my own songs, so I chose the single and title-track from my just released 8-song album, At the Edge of the World. It features some lush, dreamy production courtesy of Victoria, BC’s Quinn Bachand (Brishen, Kittel & Co., Rosier), and a ’70s-inspired, harmony laden, pedal-steel infused backing band.

Les Louanges – “La nuit est une panthère”

Yesterday I asked my bandmate Colin Savoie-Levac (Rosier, the Duhks) if he wanted to throw something into the mix that he’s really into right now. His pick was this sweaty, sexy number from Quebec’s indie pop powerhouse, Les Louanges, and I wasn’t disappointed!

Rose Cousins – “Freedom”

A live video recording of “Freedom” is what originally pulled me into a deep Rose Cousins wormhole, but the studio version is such a dramatic, powerful and universal piece of work. My natural conclusion is she’ll go down as one of our greats.

Mac DeMarco – “This Old Dog”

This song has been in a few of my playlists lately, as it’s strange but smooth lull makes me feel like I’m floating on a druggy cloud. Although I know “Chamber of Reflection” or something from his outstanding 2014 album Salad Days might be an easy crowd-pleaser, I really like the stripped-down, tight, melodic nature of “This Old Dog.”

Wild Rivers – “Thinkin ‘Bout Love”

I’ve been following the trajectory of this band for a while now, ever since we’d both entered a national song contest and I came across their soulful, catchy pop song “No Ribbons.” It was released under a different name, but when they launched into the mainstream as Wild Rivers and dropped “Thinkin ‘Bout Love,” I wasn’t surprised to see them selling-out shows and thriving.

The Sheepdogs – “The One You Belong To”

Trying to remember where I was when I first heard the Sheepdogs, but the memory is smothered by a thick cloud of smoke. The retro, soulful, southern-rockish band out of Saskatoon hits my nostalgia buttons with a Woodstock-esque punch, making this jam a perfect way to finish off my list!


Photo credit: Elena Samuel

LISTEN: Julian Taylor, “Love Enough”

Artist: Julian Taylor
Hometown: Toronto, Ontario, Canada
Song: “Love Enough”
Album: The Ridge
Release Date: May 8, 2020 (single); June 19, 2020 (album)
Label: Howling Turtle Inc.

In Their Words: “The thing about this song is that melody has lived with me for over a decade, but this one scared me — I never felt like I could get behind it and deliver this song honestly until everything in my world had essentially been taken away from me. The lyrics were first written by my friend Robert Priest, but I mixed and twisted them around to fit what I truly felt I needed to say on a personal level. We had always talked about it being a breakup song, but ironically it’s not; it’s about being a bit off and then on and then off again.

“I’ve always been a big fan of Los Lobos and The Mavericks and that Tex-Mex feel — it’s so evocative, so restless — and I wanted this song to be live in a room, like a kitchen party. I love that sound — the sound of realness, flawless in all its imperfections. ‘Love Enough’ has that feel because that’s how it was recorded: we all sat really close to one another and gave it our all, live off the floor, two acoustic guitars, and upright bass and congas. It’s authentic and real.” — Julian Taylor


Photo credit: Lisa MacIntosh

BGS Long Reads of the Week // April 24

We’ve so enjoyed looking back into the BGS archives with you every week for some of our favorite reporting, videos, interviews, and more. If you haven’t yet, follow our #longreadoftheday series on social media [on FacebookTwitter, and Instagram] and as always, we’ll put all of our picks together right here at the end of each week.

Our long reads this week examine entire careers, dive into different versions of new classic songs, revisit a lost hero, and more.

Glen Hansard: A Career in 12 Songs

We spend a lot of time at BGS immersing ourselves in the music, sounds, and careers of our favorite artists — what can we say, we love a deep dive! For this aural long read choice (if such a thing exists?) we unpack twelve of Glen Hansard’s essential songs from myriad points in his globe-crossing career, from rock bands and movie soundtracks and confessional songwriting and more. [Read the entire list, and listen, too]


Rose Cousins Shares Her Truth More Freely With Bravado

In a strangely prescient interview from late February, Canadian singer/songwriter Rose Cousins offers some insight and wisdom for being alone — the difference between loneliness and solitude, for instance — and for being present in each moment, as well. Their themes she’s explored in-depth in her music-making across the years, but in some newfound ways on her most recent album, Bravado. [Read our interview]


Glen Campbell’s Final Coda: An Interview with Carl Jackson

April 22 marked what would have been Glen Campbell’s 84th birthday. The rhinestone cowboy passed away a short couple of months after releasing his final album, Adiós, in 2017. Campbell’s long-time friend, collaborator, and bandmate Carl Jackson produced the project, and helped coax Campbell through the recording process as Alzheimer’s disease made his singing, playing, and performing increasingly difficult. To honor his birthday, we revisited our conversation with Carl Jackson. [Read


Steve Wariner’s Signature Hit? That’s Tricky

One of Nashville’s good guys, Steve Wariner was inducted into the Musician’s Hall of Fame last year, recognized for his versatility as a lead guitarist, as a sideman, and a singer/songwriter, too. Over more than four decades the Grand Ole Opry member has had numerous charting singles, so we wanted to explore that catalog and ask Wariner himself: “Do you think you have a signature hit?” [Read the interview]


My Love Will Not Change: Four Versions of a Modern Classic

After Americana singer/songwriter Aubrie Sellers gave a flawless, stripped-down performance of this song on our first episode of Whiskey Sour Happy Hour this week we’ve been returning to it over and over! Written by Shawn Camp and Billy Burnette, Del McCoury and Steve Earle have both been involved in recordings of this modern classic over the years. [Check out four different versions]


 

WATCH: Harrow Fair, “Seat at the Table”

Artist: Harrow Fair
Hometown: Toronto, Ontario
Song: “Seat at the Table”
Album: Sins We Made
Release Date: April 17, 2020
Label: Roaring Girl Records

In Their Words: “Before we started our songwriting process for our new album, we had some really long discussions of what we wanted this record to say. We felt that, as artists, we had a responsibility to comment on the world we live in and the world we want to create. ‘Seat at the Table’ became almost a thesis statement for us. We had no way of knowing that this message would become not only more relevant, but also more imperative today than ever before.” — Miranda Mulholland and Andrew Penner, Harrow Fair


Photo credit: Jen Squires

Rose Cousins Shares Her Truth More Freely with ‘Bravado’

“I’ve always been interested in human struggle,” Rose Cousins says, musing on “The Fraud,” a song off her latest album Bravado. “I think being a living human being is really hard.”

Bravado listens like a series of object lessons on the contradictions inherent to being human, with Cousins using each song to meditate on themes like pretension and vanity, as well as loneliness, solitude, and the crucial distinction between the two. Across the album, her songwriting is as sharp and clear-eyed as it’s ever been, a feat she attributes to pushing herself to dig deeper and share her truth more freely than she’d done on past efforts. Bravado follows her Grammy-nominated 2017 album Natural Conclusion.

BGS caught up with Cousins in late February, just a week after she released Bravado, speaking by phone as she was at home in Halifax putting together packages for Kickstarter supporters. Much has changed for musicians since then, rendering some bits of our conversation irrelevant (like her tour in support of Bravado, which was canceled due to COVID-19), and other portions — as when Cousins shares her desire to spend more of her energy on practices like walking and meditation — strangely prescient.

BGS: When did you begin work on the album, and when did you feel the project was truly starting to come together?

Cousins: Every year I go on a writing retreat with a group of songwriters from Boston; we’ve been doing it now for 10 years. I wrote two of the songs at the retreat: “Love Comes Back” and “The Fraud.” “The Fraud” was the song that really revealed to me the concept of “bravado.” I thought about the word “bravado” and thought it would be an amazing title, and isn’t that an interesting concept?

I went into the studio to work with some different musicians in Canada I hadn’t worked with before. We had such a great time that I booked some more studio time in May [of 2019] and in between that time wrote “The Benefits of Being Alone.” Once I wrote that song, in March of last year, I was like, “It’s on.” I really wanted to write a song that was coming from my perspective of being a single person, and, while society has different stigmas around [being single], it’s not all bad.

I think people experience loneliness whether they’re in a relationship or not. And aloneness is a really rich thing — spending time by yourself and having your own creative time and energy to devote to yourself and what you want to do. So I was really excited when that song came. I knew after our sessions in May that I was chasing a record.

Back to what you were saying about choosing the word Bravado as your album title, that concept comes up in “The Expert,” too. Can you elaborate on why you felt that idea was so representative of this collection of songs? I always find it interesting when an artist chooses a title for an album that isn’t also the title of a track.

It’s definitely the thread that goes through all the songs. When I was writing “The Fraud,” I was singing, almost in an observational way, about my own self, about presenting yourself one way and feeling another way. And if there is a time in the world that that is happening, it’s right now, where people are presenting versions of themselves that aren’t necessarily true. Maybe it isn’t a complete lie, but we never used to be able to filter photographs. Only people who worked at magazines could do that. Now we are putting versions of ourselves through social media that are depicting the best bits. …

Since my last record, I’ve been thinking a lot about what matters to me, what’s really true, what do I love, what are the things I can let go of? And how can I be more in touch with myself and the ground? It’s really hard. I don’t think there is a single human being who escapes any of that. You can have 75 emotions in one day….

The hardest, deepest, most uncomfortable work — and this is where I’m at in my life — is dealing with your own self. And where you are calling upon bravado. That’s the concept of this whole record. It’s the duality of being a living human being. We present the version of ourselves we want but when we’re in a vulnerable situation, can we live up to the person that we presented? That’s the question for me.

To your point about trying to be more real and truthful in your everyday life, there was a quotation in your bio that stuck with me. You said, “I realized I was chasing a theme and a feeling I had been pondering for months. And it turned into a whole record of perhaps my best writing.” Did that personal digging contribute to your feelings about the finished album?

My last record was definitely some of my most truthful writing. I remember having nervousness about some of the stuff being too dark or that kind of thing. Of course it’s hard to have perspective on your own work, but I historically feel like I elude; I don’t always tell the full story at one time. I elude telling the full story and I allude to things. With this record, it feels closer to an admittance and staring really hard at the way I’ve set my own life up. By being more truthful for my own self, I think that always makes the writing better, and makes the connection to the music better.

Elsewhere in reading about the album creation, I came across a passage where you share that you felt a kind of pressure to be productive, as opposed to going for a walk or enjoying silence. Did making this record alleviate that feeling for you in any way, or offer you a differing perspective?

It did not. It’s funny. So this month, February, I tried to protect all of February as best I could from travel so that I could be home and deal with all the Kickstarter things and all of the press that’s coming in, all of the merch, all the things people don’t see and don’t need to know about. Within that, I dedicated myself to two things that I have been talking to myself about for years: I’ve taken a walk outside every single day and I’ve meditated every single day. Those are two things I’ve wanted to incorporate into my world.

I definitely am a workaholic. I definitely have this thought-circle in my mind of, “If you’re not doing something productive, if you’re not moving forward…” I can’t let myself off the hook… I’ve still been trying to put those desires into motion. There are plenty of days when I don’t want to go for a walk, but once I’m outside I feel better. Why is it so hard? Why is it so hard to get back to the gym, or stop eating garbage? It’s because we’re emotional people and we form habits and you have to make different decisions. Sometimes the psychic pain of change is horrible and also exactly what we need.

That’s a good segue to one of the songs I’ve found myself coming back to a lot, which is “The Time Being (Impending Mortality Awareness Society).” First of all, that is such a fantastic title. I’d love to hear how you wrote that one.

I feel very lucky to have a friend, an older gentleman, who is a fisherman. We were catching up one day and he was talking about coming back from a fishing trip where he had a gentleman with him who was much older than him. He said, in passing, “impending mortality awareness.” I thought it was brilliant and about a month later I found myself sitting at a piano and came up with that first line, “The Impending Mortality Awareness Society meets twice a week / Do or die because time is of the essence.” And I kept running with that…

Of all the stuff we’ve just talked about, isn’t it the hardest to just be present? That’s what going for the walk is. That’s what meditation is. Can you give yourself a moment where you tune in to your own body and your own brain and pause? It is about paying attention to what is important. It’s about telling the people you love that you love them. It’s about checking in with your fears. Because most of them are not real. It’s about acknowledging that time is in motion and you need to get your head out of your ass and be in it.


Photo credit: Lindsay Duncan

The Shift List – Chef John Winter Russell (Restaurant Candide) – Montreal, Part 1

This week on The Shift List, a conversation in quarantine with John Winter Russell, chef and founder of Restaurant Candide in Montreal.

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Host Chris Jacobs first had the chance to speak with Russell at Candide before COVID-19 related travel and gathering restrictions went into place, and decided to reconnect with him recently via phone to see how Russell is facing the challenges of being an independent chef and restaurant owner during a global pandemic.

In the episode, the pair talk about some of the music Russell’s listening to in quarantine and the food he’s making at home, but he also talks about some of the ways he’s been able to give back to the restaurant workers affected by job losses in Canada, as well as a recent opportunity to create menus for the food banks of Montreal.

If you live in Montreal and are craving some craft beer delivered to your house, send an email at [email protected]. All proceeds will go to the Montreal Restaurant Workers Crisis Relief Fund.

We’ll be airing our non-quarantine episode from Candide in Montreal on April 21.

WATCH: Donovan Woods, “Grew Apart”

Artist: Donovan Woods
Hometown: Sarnia, Ontario
Song: “Grew Apart” (single)
Label: Meant Well

In Their Words: “‘Grew Apart’ is about the little lies inside the words we use when we’re hurting after a relationship ends. We wanted to tell a story in the video about men trying to help each other — and fucking it up, but trying. Men seem to think that there’s some physical trial we need to put ourselves through when we’re lovesick — drinking, fighting. The wrongheadedness of that idea is on display here. So often it feels like we can’t escape those breakup clichés. The song and the video are about why that might be.” — Donovan Woods


Photo credit: Joey Senft

WATCH: The Slocan Ramblers, “New Morning”

Artist: The Slocan Ramblers
Hometown: Toronto, Ontario, Canada
Song: “New Morning”
Album: Queen City Jubilee
Label: SloMusic

In Their Words: “I wrote ‘New Morning’ right after our second album Coffee Creek came out, and it came to me pretty quick. There’s this funny period after you put out an album — a moment of calm and then the crashing realization that it’s on to the next one. It’s that push to get back to work that got me writing again, and this song came out first. I was listening to Béla Fleck’s Tales from the Acoustic Planet, Vol. 2 endlessly around that time, so maybe you can find some bits of inspiration in there. Big thanks to Trent Freeman (check out his awesome band The Fretless) for the videography.” — Adrian Gross, The Slocan Ramblers


Photo credit: Jen Squires

BGS 5+5: Garrett Kato

Artist: Garrett Kato
Hometown: Born in Port Coquitlam, BC; current home is Byron Bay, Australia
Latest Album: s. hemisphere EP
Nickname: “Shoji is my middle name, some crew call me that”

Which artist has influenced you the most … and how?

I think it would have to be Bob Dylan as cliché as that sounds. I feel there’s only a handful of artists that can hit you in the guts with lyrics and melody. He’s probably the master of storytelling and symbolism in song.

What’s your favorite memory from being on stage?

This was probably one of favourite moments in life. I was supporting Damien Rice in Australia and was a big fan of his work. I hadn’t seen him much and figured he’d be too busy to see my set. I played to a beautiful and attentive audience, and once I left the stage, out of the darkness he emerged to say he enjoyed the set. Later that night, we went busking in the streets of Brisbane. It was something I won’t soon forget.

What other art forms — literature, film, dance, painting, etc — inform your music?

I’m a big fan of most A24 films at the moment. They always have such intensity and mystery to them highly recommend. As far as for my music, I’d say I draw more from conversations in real life or stories I hear from people I know, and love that, for some reason, it seems to seep in more often when I’m writing.

What’s the toughest time you ever had writing a song?

I think it’s almost every time. Each song comes with its own set of challenges and problems that are particular to the message or music. I find it the hardest to write when I’m spending too much time on social media. It really sucks the life out of being creative, and you end up just worrying about what everyone else is doing.

If you had to write a mission statement for your career, what would it be?

Try to give some comfort to someone who may be feeling lost or alone.


Photo credit: Jess Parkes