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Roger Daltrey Announces 2024 North American Solo Tour

Eric Alper
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Roger Daltrey Announces 2024 North American Solo Tour

Roger Daltrey has announced a North American solo tour for this June. Building on a previously announced May 6 engagement at San Diego, this run will bring the legendary frontman for The Who to nine further engagements in the Southeast, Northeast, Midwest and Canada between June 12 – 29. With support from an electric and acoustic band, Daltrey’s appearances have been hand-picked for intimate presentations of his classics and rarities, interspersed with live audience talk-back.

Daltrey’s summer run will begin with his only West Coast show of the year on May 6, which will present the artist onstage at The Rady Shell at Jacobs Park in San Diego a month before the official outset of his new tour. By June 12, Daltrey will fly to the Southeast to perform at Vienna, Va.’s vaunted Wolf Trap – Filene Center, followed by a trip across the northern border to Niagra Falls, Ontario for a June 14 set at OLG Stage at Fallsview Casino. Next, the artist will move on to the Northeast for a four-show sprint, highlighted by a June 18 engagement at The Capitol Theatre in Port Chester, NY and a June 20 presentation at Boston’s Leader Band Pavilion. Finally, on June 25, Daltrey will take Detroit for the first in a final three-night Midwest run, culminating with a June 29 performance at Highland Park, Ill.’s The Pavilion at Ravinia.

Daltrey’s performance will feature support from a nine-piece ensemble assembled by the icon, composed of Simon Townshend and Doug Boyle on guitar, Billy Nicholls on mandolin, John Hogg on bass, Katie Jacoby on violin, Geraint Watkins on keyboard and accordion, Steve Weston on harmonica and drummer Scott Devours, with additional percussion from Jody Linscott. These performances will also feature support from special guest singer-songwriters KT Tunstall and Dan Bern. Between songs, the bandleader will share stories from his six decades of performance and answer questions posed by the audience.

A Live Nation presale for Daltrey’s exclusive summer series will open on Thursday, March 21 at 10 a.m. local time with code KEY. General on-sale will follow on Friday at 10 a.m. local time. For more information, visit thewho.com/tour.

Roger Daltrey North American Solo Tour 2024
May 6 – The Rady Shell at Jacobs Park – San Diego
June 12 – Wolf Trap – Filene Center – Vienna, Va.
June 14 – OLG Stage at Fallsview Casino – Niagara Falls, Ontario
June 16 – Bethel Woods Center for the Arts – Bethel, N.Y.
June 18 – The Capitol Theatre – Port Chester, N.Y.
June 20 – Boston – Leader Bank Pavilion
June 22 – Tanglewood – The Koussevitzky Music Shed – Lenox, Mass.
June 25 – Meadow Brook Amphitheatre – Detroit
June 27– Murat Theatre at Old National Centre – Indianapolis
June 29 – The Pavilion at Ravinia – Highland Park, Ill.

Jeff Lynne Announces ELO’s ‘The Over and Out’ Final Tour

Eric Alper
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Jeff Lynne Announces ELO’s ‘The Over and Out’ Final Tour

Jeff Lynne’s ELO is set to embark on the band’s final tour dubbed “The Over and Out Tour”. The 27-date trek, produced by Live Nation, will kick off in Palm Desert, CA on August 24 and travel across North America to cities such as New York, Chicago, Atlanta, and Seattle before concluding in Los Angeles, CA on October 25.

Artist Presale will begin on Wednesday, March 20 @ 10am local time and the general onsale will start on Friday, March 22 @ 10am local time. Exclusive VIP experiences will be available March 20th at 10am local. Please visit livenation.com and jefflynneselo.com for all details.

 Known as one of the most iconic forces in music history, in recent years Jeff Lynne’s ELO has delivered a critically acclaimed and chart-topping album along with a sold out run of UK and European shows.  Jeff Lynne was inducted into the Songwriters Hall of Fame last year and the band was inducted into the Rock and Roll Hall of Fame in 2017. The band has always been known for their epic live shows and with a distinct style that seamlessly and innovatively blends rock, pop and classical, ELO has had more than 20 Top 40 Hits across the U.S. and the U.K., making Lynne’s sweeping productions some of the most recognizable music of the last forty years and helping sell over 50 million records worldwide.

Widely agreed upon as one of the greatest record producers in music history, Lynne was a co-founder and member of The Travelling Wilburys together with George Harrison, Bob Dylan, Roy Orbison, and Tom Petty, as well as a producer and collaborator with some of the biggest names in music including The Beatles, Tom Petty, Roy Orbison, Paul McCartney, Ringo Starr, Joe Walsh and Bryan Adams.

Jeff Lynne’s ELO “The Over and Out” Tour
Aug 24 – Palm Desert, CA – Acrisure Arena
Aug 27 – Seattle, WA – Climate Pledge Arena
Aug 28 – Vancouver, BC – Rogers Arena
Aug 30 – Portland, OR – Moda Center
Sep 01 – San Francisco, CA – Chase Center
Sep 06 – St. Louis, MO – Enterprise Center
Sep 07 – Indianapolis, IN – Gainbridge Fieldhouse
Sep 09 – Toronto, ON – Scotiabank Arena
Sep 10 – Pittsburgh, PA – PPG Paints Arena
Sep 13 – Cincinnati, OH – Heritage Bank Center
Sep 14 – Cleveland, OH – Rocket Mortgage FieldHouse
Sep 16 – New York, NY – Madison Square Garden
Sep 20 – Philadelphia, PA – Wells Fargo Center
Sep 23 – Boston, MA – TD Garden
Sep 25 – Washington, DC – Capital One Arena
Sep 27 – Chicago, IL – United Center
Sep 30 – St, Paul, MN – Xcel Energy Center
Oct 02 – Denver, CO – Ball Arena
Oct 09 – Detroit, MI – Little Caesars Arena
Oct 11 – Nashville, TN – Bridgestone Arena
Oct 12 – Atlanta, GA – State Farm Arena
Oct 15 – Austin, TX – Moody Center
Oct 16 – Houston, TX – Toyota Center
Oct 18 – Dallas, TX – American Airlines Center
Oct 21 – Phoenix, AZ – Footprint Center
Oct 23 – Sacramento, CA – Golden 1 Center
Oct 25 – Los Angeles, CA – Kia Forum

Live Nation’s On The Road Again Has Supported 4,000+ Developing Artists & Will Continue Rolling Through 2024

Eric Alper
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Live Nation’s On The Road Again Has Supported 4,000+ Developing Artists & Will Continue Rolling Through 2024

The On the Road Again program will continue rolling out extra support to every artist playing shows at Live Nation’s clubs through 2024. Launched last fall with the legendary Willie Nelson, On the Road Again helps developing artists on tour and recognizes crews working tirelessly behind the scenes.

For every show played in an On The Road Again venue, each headliner and support act receives $1,500 in gas and travel cash on top of nightly performance compensation. Additionally, artists keep 100% of merch profits as On the Road Again clubs do not charge merchandise selling fees.

“Our goal was to make touring a little easier and we’ve accomplished that night after night for over 4,000 artists, with more on the way,” said Willie Nelson.

On The Road Again has distributed tens of millions of dollars to over 4,000 artists and counting, with no set end date for the program. The program also distributed special bonuses and elevated club staff to a $20 minimum wage to recognize those working to support developing artists behind the scenes.

“We’re proud to keep On The Road Again rolling strong. Supporting club artists strengthens the future of music,” said Michael Rapino, President and CEO, Live Nation Entertainment.

Live shows are more important than ever for artists as they get the bulk of their income from touring. Even while live music is booming like never before, hardworking club artists are most impacted as tour costs rise and fluctuate – particularly as they aim to keep their ticket prices affordable for fans.

On the Road Again is a true collaboration that draws on insights from Nelson’s years on the road as well as feedback from touring artists, their teams and venue operators to help support day to day life on tour. All benefits from On the Road Again are being provided directly from the venue’s existing earnings, with no increases to consumers.

For more information on the program and a list of participating venues, visit roadagain.live.

Postal Service Pays Tribute to Bluegrass Music

Eric Alper
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Postal Service Pays Tribute to Bluegrass Music

That high lonesome sound was celebrated here today with the dedication of the Bluegrass Forever stamp at the Bluegrass Hall of Fame and Museum.

Bluegrass is a singularly American music style, born in the mid-20th century. It defies time, drawing inspiration from the past while also openly embracing innovation.

“Like Bluegrass, the Postal Service finds inspiration in our nation’s history — which is why we are so proud of the role we play in portraying the American experience,” said Steven W. Monteith, Postal Service chief customer and marketing officer and executive vice president. “Bluegrass music is a legacy that can make us all proud, whether we’re a musician or a fan. And it is a legacy we are proud to recognize with this stamp.”

The genre blends old-time folk and fiddle music with elements of blues, jazz, country and gospel. The signature sound of bluegrass relies on tight vocal harmonies, driving tempos, and perhaps most of all, outstanding musicianship.

“I am very pleased and excited that the U.S. Postal Service is issuing a commemorative stamp for our beloved bluegrass music,” said Ricky Skaggs, 15-time Grammy® Award-winner and bluegrass ambassador. “Millions of people around the world will see this stamp and many of them will want to know more about the music. A huge door has opened up to us!”

The stamp dedication event occurred before a concert by Skaggs.

The signature sound of bluegrass relies on a mix of acoustic string instruments. The five-string banjo dominates and, along with guitar, mandolin, and bass, sets the rhythmic foundation of this often fast-paced music. Fiddle, mandolin, banjo, and guitar evoke a range of melodic flavors and emotions in their solos and backup.

Music historians generally agree that bluegrass as we know it originated with Bill Monroe (1911–1996). Drawing on old-time fiddle and church music as well as gospel, blues and jazz, Monroe fashioned a style that was both brand new and achingly familiar.
By 1945, Monroe and his band, the Blue Grass Boys, had solidified the key components of bluegrass: refined vocal harmonies, driving tempos, and outstanding musicianship. Once viewed as a type of country music, bluegrass — famously described as “folk music in overdrive” by musicologist Alan Lomax — emerged as its own distinct genre and could be found just about everywhere, from college campuses and large urban areas to television shows and movies.

Inspired by vintage bluegrass concert posters, the stamp art features four acoustic string instruments typical of bluegrass bands — guitar, five-string banjo, fiddle, and mandolin — below the word “Bluegrass.” Text at the top of the stamp reads “High Lonesome Sound,” the title of a 1963 documentary about Appalachian folk music and a familiar nickname for bluegrass.

Antonio Alcalá, an art director with the Postal Service, worked with designer and illustrator Heather Moulder to produce the stamp art. Moulder created the design as a letterpress print, with each layer carved by hand from wood and linoleum.

The Black Keys Receive Soundexchange Hall Of Fame Award

Eric Alper
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The Black Keys Receive Soundexchange Hall Of Fame Award

SoundExchange, the premier music tech organization powering the future of music, announced today that The Black Keys have been honored with the SoundExchange Hall of Fame Award, recognizing their stature as one of the most streamed acts in the organization’s 20-year history.

“Dan Auerbach and Patrick Carney have redefined rock music for a generation as The Black Keys, releasing powerful hits like ‘Tighten Up,’ ‘Lonely Boy,’ and ‘Gold on the Ceiling,'” said Michael Huppe, President and CEO of SoundExchange. “We are honored to present The Black Keys with the SoundExchange Hall of Fame Award.”

Patrick Carney and Dan Auerbach were presented during the SXSW conference and music festival in Austin, Texas, where duo delivered a featured keynote, premiered the Jeff Dupre-directed documentary This is a Film About The Black Keys, and performed a pair of headlining sets. The band will release its twelfth studio album, Ohio Players, on April 5 via Nonesuch/Warner Records.

Formed in Akron, Ohio in 2001, The Black Keys are singer/guitarist Dan Auerbach and drummer Patrick Carney. The Black Keys have been called “rock royalty” by the Associated Press and “one of the best rock ‘n’ roll bands on the planet” by Uncut. Cutting their teeth playing small clubs, the band has gone on to sell out arena tours and has released eleven previous studio albums: the debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), Turn Blue (2014), “Let’s Rock” (2019), Delta Kream (2021), and Dropout Boogie (2022). The band has won six Grammy Awards and a BRIT and headlined festivals in North America, South America, Mexico, Australia, and Europe.

SoundExchange is the premier music tech organization on a mission to power the future of music. It was independently formed in 2003 to build a fairer, simpler, and more efficient music industry through technology, data, and advocacy. The only organization designated by the U.S. government to administer the Section 114 sound recording license, SoundExchange collects and distributes digital performance royalties on behalf of 650,000 music creators and growing. Through proprietary music tech solutions that turn data into accurate revenue, SoundExchange has paid more than $10 billion in distributions to date. For more information, visit soundexchange.com.

ClimeCo, Music Sustainability Alliance Report on State of Sustainability Efforts, Attitudes in Live Music Industry

Eric Alper
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ClimeCo, Music Sustainability Alliance Report on State of Sustainability Efforts, Attitudes in Live Music Industry

 ClimeCo, the leading global decarbonization and environmental solutions company, recently partnered with the Music Sustainability Alliance (MSA), the hub for learning, innovation and collaboration for driving sustainable operational change in the live music industry. Together, they are pleased to share the results of their recent study on the state of sustainability in live music presented at MSA’s Music Sustainability Summit. Their research engaged more than 50 influential stakeholders, including tour managers, promoters, record labels, venues, production managers, non-profit organizations, festival operators and others, through in-depth personal interviews conducted in late 2023. The findings shed light on present challenges, successes and areas of opportunity, including drivers, barriers and emerging sustainability focus areas shaping the narrative of the live music industry.

Top-level Findings

Perhaps the most significant key finding is that all groups interviewed recognized the importance of sustainability efforts and indicated that they are actively working to improve in this area. Also, there was substantial overlap among the various survey groups in identifying possible areas of focus, but the options were prioritized differently based on role and functional area.

Key Drivers

Ninety-one percent of groups interviewed indicated that the anchor of sustainability in the live music industry is the influence of artists. Artists play a pivotal role in shaping the vision for their tours and engagement with fans. This influence is further accentuated by the widespread adoption of green riders, prompting venues to become more responsive and accommodating of the expectations set by artists. Promoters also emphasized sustainability as a common pre-requisite for booking acts, especially with artists who are vocal about climate change. Smaller artists may have difficulty asking their partners to improve their sustainability practices since the clout of more prominent figures is undeniably more significant.

Fan engagement and sincere commitment to driving substantial change are important in effectively implementing sustainability improvements. Tours have reported heightened success in engagement when artists and artist communities actively advocate for climate adaptation directly with fans during events. Tour managers highlighted the growing trend for artists to include tabling events and on-site volunteer registration opportunities, fostering deeper connections between fans and their admired artists through shared values. Additionally, eighty-two percent of groups interviewed reported that involving fans in sustainability efforts was critical to ensuring their success. They also noted that fans often expect and actively seek sustainability measures at live events and are eager to participate in impact mitigation both on-site and off-site.

Successes

Ninety-one percent of groups interviewed pointed to successful waste reduction initiatives and/or pilot programs exploring the use of cleaner energy sources. Venues mentioned efforts to increase recycling and composting capabilities. Festival operators highlighted reductions in single-use plastics over the past several years. On the alternative energy front, non-profit organizations and production managers have tested the use of solar energy for live performances and as a diesel generator replacement, while tour managers and logistics partners are exploring the adoption of alternative fuels in transportation and logistics.

Challenges

Navigating the sustainability landscape in the live music industry poses challenges, with key barriers that include prohibitive costs and access to granular data. Seventy-three percent of groups interviewed mentioned the steep cost of implementation as an organizational challenge. Venues noted the difficulty of measuring baseline data for live event footprint calculations, and record labels stressed the need for more industry-wide standardization in measuring greenhouse gas emissions.

Non-profits and several touring managers suggested using sponsors to underwrite the cost of key environmental initiatives and the measurement of their success as a possible solution to mounting cost pressures. That said, concerns about fan and partner reactions to greenwashing remain a consideration in any effort. A widespread lack of clarity around which group should assume primary ownership over environmental matters, including policy decisions, measurement and reporting, has also slowed progress. As the industry grapples with these challenges, a growing consensus across all groups is that the music industry needs to work with outside experts to set accurate goals and key performance indicators to ensure alignment.

Emerging Issues/Opportunities

While the challenges of enhancing overall responsibility and impact reporting are already evident, all stakeholders stressed that the momentum behind these efforts will only grow in popularity, creating significant opportunities for early adopters and innovators. Consultants and managers suggested that the industry expand avenues for attendees to reduce their impact and empower fans interested in contributing to sustainability improvement. Since fan travel is generally the largest source of carbon emissions for tours and festivals, several venues and festivals discussed efforts to create ride-sharing or shuttle programs to lower single-occupant vehicle use for fan travel, creating significant emissions savings and providing sustainable options to fans. Many stakeholder subgroups noted the importance of pre-planning tours to mitigate climate impacts. They also noted the pivotal role of education and awareness in sustaining momentum across the industry and the general public. Several groups also indicated that location-specific policies (venues, cities, etc.) and the political landscape of local communities often impact the success of sustainability efforts.

Garrett Keraga, Senior Manager of Sustainability, Policy and Advisory at ClimeCo, who spearheaded the project, noted, “Given its visibility, platform and passion, the entertainment industry is one of the most important and influential drivers of climate action. This effort shows that while sustainability progress is being made in live music, industry groups need help in navigating the process. ClimeCo has worked with numerous industry players to create sustainability strategies, plan and implement abatement solutions, create measurable impact and communicate progress. We are thrilled to partner with forward-thinking groups like the Music Sustainability Alliance to use the power of music to create a brighter future.”

“Working with ClimeCo to conduct stakeholder engagement interviews shined a light on the depth of work the music industry is engaged in, along with the success stories and challenges it is facing in becoming more sustainable,” noted MSA Director Eleanor Anderson. “This research is a step towards understanding where we are in our sustainability journey, the challenges we need to solve and the opportunities for action,” added MSA President Amy Morrison.

Maestro Masters Bach: Musician Stuns Audiences with Performance on World’s Largest Pipe Organ

Eric Alper
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Maestro Masters Bach: Musician Stuns Audiences with Performance on World’s Largest Pipe Organ

Concert virtuoso Felix Hell embarked on a journey to Atlantic City, New Jersey, to pay homage to Johann Sebastian Bach by delivering a mesmerizing rendition of the iconic Toccata and Fugue in D Minor for Organ, BWV 565. His performance took place on the legendary Boardwalk Hall Auditorium pipe organ, certified by Guinness World Records as the largest of its kind globally.

Photo Gallery: Ministry with Gary Numan and Front Line Assembly at Toronto’s History

Eric Alper
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Photo Gallery: Ministry with Gary Numan and Front Line Assembly at Toronto’s History

All photos by Mini’s Memories. You can contact her through Instagram or X.

Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Ministry
Gary Numan
Gary Numan
Gary Numan
Gary Numan
Gary Numan
Front Line Assembly
Front Line Assembly
Front Line Assembly
Ministry

 

‘Art During Wartime’ Podcast Examines Cultural Beauty of Ukraine, Kicks Off Its Second Season With Rapper OTOY

Eric Alper
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‘Art During Wartime’ Podcast Examines Cultural Beauty of Ukraine, Kicks Off Its Second Season With Rapper OTOY

Art During Wartime, a podcast that examines the beauty and richness of Ukrainian culture, kicks off its second season with an interview with rapper OTOY, one of the most conceptual Ukrainian rappers today.

The podcast was conceived by Ohio native David Junk, who first started working in Ukraine in 1999, not long after the fall of the Soviet Union, as a record executive for Universal Music. At the time, no other Western record label had ventured into Ukraine. David played a pivotal role in opening Universal’s first branch office in the country, which was a major boost to the early development of the Ukrainian music industry.

As Vice President of Universal Music, he was instrumental in defending the rights of Ukrainian songwriters and combating music piracy controlled by criminal groups. Under his leadership, Universal Music soared to become Ukraine’s most successful international label. This achievement was largely attributed to the Ukrainian youth’s love of Hip Hop and rap music from Universal’s premier labels, Interscope and Def Jam Records.

Now, David has created Art During Wartime to keep Ukraine on American listeners’ minds. The podcast focuses on art and culture instead of military or political topics. “Americans need to know that Ukrainians are fighting for their culture,” David explains. “Russia has overshadowed Ukraine for centuries. That’s happened nowhere more profoundly than in arts and culture.”

Because of this overshadowing, most of us know much more about Russia than Ukraine. The Art During Wartime podcast will hopefully contribute to more Americans becoming aware of the beauty and richness of Ukrainian culture. And the understanding that Ukraine is not Russia.

The star of the first episode of Season 2, Ukrainian rapper OTOY is an award nominee, and is widely recognized in Ukraine for his original style and visual aesthetics. He highlights living stories that resonate with everyone who gets to know his work, and his outsized energy during performances will not leave anyone indifferent!

Music has accompanied OTOY since childhood, after his mother gave him his first hip-hop cassette by A Tribe Called Quest. This was then followed by music lessons at school and jams on the streets accompanied by his guitarist friends. In his work, he promotes values such as a respectful attitude towards women, the importance of mental health, and the preservation of local traditions and cultural characteristics.

In the inaugural episode of Art During Wartime’s second season, OTOY talks about his first music impressions and influences, the balance between his UX designer job and his music career, how the war has impacted his music, and how it felt to be on the frontline.

The second season of Art During Wartime is available now on Spotify and Apple Podcasts.

Folk Icon JAMES GORDON Goes On A Hunt For Harmony In “Leonard’s Secret Chord” From New Album ‘Wrinkles and Scars’

Eric Alper
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Folk Icon JAMES GORDON Goes On A Hunt For Harmony In “Leonard’s Secret Chord” From New Album ‘Wrinkles and Scars’

One of the more curious aspects of the artistic temperament is that the more you accomplish, the more you strive for. Case in point: Canadian folk legend James Gordon, who after a whopping 42 albums and successes in multiple other avenues of creative and civic life is still looking for “Leonard’s Secret Chord” — which is not only a metaphor for the elusiveness of the proverbial muse, but the title of his new single to boot.

And yes, that title is indeed a Leonard Cohen reference. Gordon wrote his song after watching a documentary on the omnipresent “Hallelujah,” which Cohen recorded in 1984 and which later became a staple of films, TV and the repertoires of other artists.

“Looking at his great body of work, I believe Cohen was always searching for meaning, for truth,” Gordon says. “Looking for a key solve the mystery of the universe. I think all creatives share that quest.”

A more uptempo cousin to the Cohen track, “Leonard’s Secret Chord” finds Gordon remarking on the intellectual and spiritual wanderlust of the driven—a group he feels we all fall into at one time or another:

Painters and poets, philosophers and kings
Looking to the cosmos for the same things
Rebels and angels, singers and dancers
Everybody’s out there looking for answers
We’re all looking for, we’re all looking for
Leonard’s secret chord

The ridiculously prolific Gordon absolutely fits that description. As a founding member of folk trio Tamarack, with whom he performed from 1978 to 2000, and subsequently as a solo artist, he’s made enough albums to fill a decent-sized independent record shop while touring extensively across the globe. He’s composed for symphony orchestras, the musical theatre and dance troupes, written film scores, and served as a songwriter-in-residence on CBC radio for over a decade. As a record producer, he’s credited on CDs by numerous Canadian folk artists, and his mentorship programs have spurred the careers of countless youth and adult songwriters alike. That’s not to mention his accomplishments as a published author, playwright, theatrical director, podcast host and even a two-term city councillor in his native Guelph.

Yep — textbook underachiever.

The latest jewel in his crown is Wrinkles and Scars, a forthcoming live album of which “Leonard’s Secret Chord” is but one facet. Recorded at Guelph’s River Run Centre in January 2024, the performance finds Gordon backed by his “Exceptional Ensemble” of Ian Bell, Randall Coryell, Anne Lindsay, Katherine Wheatley and David Woodhead. The 14 songs run the gamut from personal musings on aging and loneliness to some of the more politically charged material for which Gordon is known—including musical protestations against climate change, religious fundamentalism and the Rwandan genocide.

“I try to stay optimistic despite our current challenges,” he says. “As an activist, I want to hold onto hope, otherwise there’s no point investing energy into ‘the cause.’ That often feels pretty unrealistic in my moments of despair.”

Ah, but therein hangs the eternal quest for that secret chord of harmony and fulfillment. Thanks for still fighting the good fight, James. And hallelujah.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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