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Sophie B. Hawkins Revisits A Beloved Classic With A Raw, Acoustic Version Of “Right Beside You”

Eric Alper
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Sophie B. Hawkins Revisits A Beloved Classic With A Raw, Acoustic Version Of “Right Beside You”

Iconic singer-songwriter Sophie B. Hawkins has unveiled a stirring acoustic re-imagining of her 1994 hit “Right Beside You”, the first single from her landmark sophomore album Whaler. The release arrives as part of Hawkins’ highly anticipated project WHALER – RE-EMERGING, a 30th anniversary celebration that breathes new life into the songs that helped define a generation.

Originally a Top 20 hit in the UK and a charting success across North America and Europe, “Right Beside You” was praised upon its debut for its urgent vocals, dance-pop energy, and Hawkins’ fearless artistry. The song’s original video—filmed on a windswept Sag Harbor beach and featuring Hawkins on horseback—cemented its place in pop culture. Now, three decades later, Hawkins strips the track down to its emotional core, offering fans a chance to experience it in its most intimate and vulnerable form.

“I loved digging into the Whaler songs, from remembering the feelings of writing them at the piano to experiencing them in new ways on stage and raw in front of my audience,” Hawkins shares. “It’s been an incredibly creative journey, full of love and joy. I’m so happy to share this raw and emotional Whaler re-emerging with you.”

The acoustic rendition highlights Hawkins’ unmistakable voice—untouched, unfiltered, and resonant with the same passion that first captivated listeners in the 1990s. Where the original leaned into sleek production and club-ready beats, this version embraces space and silence, magnifying the song’s lyrical themes of longing, devotion, love, and loss.

This release arrives on the heels of Hawkins’ recent album Free Myself (2023), which introduced her to a new wave of fans with the UK dance hit “Love Yourself.” As she prepares to bring WHALER – RE-EMERGING to audiences worldwide—including appearances at the Saskatoon Jazz Festival and Seattle’s Triple Door—Hawkins proves yet again her unparalleled ability to reinvent while staying true to her artistic soul.

With her career spanning seven albums, platinum hits like “Damn I Wish I Was Your Lover” and “As I Lay Me Down”, and acclaimed appearances across film, television, and theater, Hawkins remains one of music’s most daring and enduring voices. “Right Beside You” (Acoustic) is more than a nostalgic revisit—it’s a testament to the timelessness of Hawkins’ songwriting and the raw power of her performance.

UPCOMING CANADA TOUR DATES

October 16 – North Battleford, SK – Dekker Centre for the Performing Arts
October 17 – Camrose, AB – Jeanne & Peter Lougheed Performing Arts Centre
October 18 – Fort Saskatchewan, AB – Dow Centennial Centre – Shell Theatre
October 19 – Prince Albert, SK – E.A. Rawlinson Centre for the Arts
October 21 – Brandon, MB – Western Manitoba Centennial Auditorium
October 22 – Winnipeg, MB – Club Regent Event Centre
October 25 – St. Albert, AB – Arden Theatre
October 26 – Red Deer, AB – Red Deer Memorial Centre
October 27 – Calgary, AB – Bella Concert Hall
October 29 – Vancouver, BC – Vancouver Playhouse
October 30 – Victoria, BC – McPherson Playhouse

Singer-Songwriter Aynsley Saxe Reaches New Heights with “Next Level Love”

Eric Alper
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Singer-Songwriter Aynsley Saxe Reaches New Heights with “Next Level Love”

Georgetown, Ontario singer-songwriter Aynsley Saxe is soaring once again with the release of her new single “Next Level Love,” a track that elevates her sound to luminous new heights. Following the heartfelt intimacy of “Stranger to Myself,” this latest offering carries the same authenticity while embracing passion, desire, and unrestrained joy as its guiding force.

Saxe has always combined deep roots with adventurous horizons. She first sat down at the piano at age six, wrote her first song on a New Zealand farm at eighteen, and has since carved out a career that blends folk storytelling with contemporary textures. With a background in English and Film from Western University, she writes with a storyteller’s eye, capturing moments that feel both personal and universal.

“Next Level Love” embodies what Saxe herself calls the “summits of romantic love.” Co-produced with Christian Turner at Mill Town Sound in Milton, the song opens with pulsing electric guitar that beats like a heart before lifting into a soaring chorus. “We’re lightning blinding, circuits breaking, overloading off the charts,” she sings, her voice charged with intensity. The track rises and falls like waves, carrying listeners on the same emotional tide that inspired it.

“When I wrote ‘Next Level Love,’ I was coming alive again after a period of feeling dead romantically,” Saxe says. “A spark ignited in me unexpectedly and this song materialized. It’s about the elation of finding passion that is stronger and crazier than ever before.” The lyrics capture that ignition: “You’re gasoline, I’m matches, dangerous… You take me to the edge and beyond.”

This new single builds naturally on the stripped-down honesty of “Stranger to Myself,” her first release from the forthcoming album A Thousand Stars, due in 2026. If that song was the quiet voice of renewal, “Next Level Love” is the exhale of desire, the celebration of what it feels like to fly higher than imagined. “Rising higher than ten thousand feet,” she sings, “If I step off the edge I’m taking you with me.”

The production mirrors the lyrics’ momentum, moving from intimate verses to a euphoric, layered chorus. Background vocals create an expansive, otherworldly quality, lifting the song into the skies of its own metaphor. It’s music that doesn’t just describe passion—it embodies it, reminding us that love can be both grounding and transcendent.

Fans have praised the single as heartfelt and raw, with one listener noting the “glacially smooth and profound” power of her vocals. Others point to the way her voice echoes across layers, speaking to itself in a dialogue of longing and fulfillment. These responses affirm what her audiences have long known: Aynsley Saxe’s music doesn’t just entertain, it resonates with a healing presence.

For Saxe, that sense of resonance comes from a life lived in multiple dimensions.  As a musician, and Reiki teacher it’s no surprise that her songs touch on both earthly and spiritual experiences. With “Next Level Love,” she steps forward as an artist unafraid to claim both the vulnerability and the fire within her.

The accompanying music video, edited by Saxe herself, expands on the song’s elemental themes with stormy oceans, fire, and aerial vistas layered over still portraits. “Passion can be seductive, dangerous and exciting,” she says. “I wanted to create a montage that was evocative, alluring, and slightly trepidatious.” The result is a visual poem that mirrors the song’s intensity and beauty.

With “Next Level Love,” Aynsley Saxe invites listeners to embrace the exhilaration of passion and the courage of love that leaps into the unknown. It is a powerful step toward her upcoming album A Thousand Stars, a record that promises to chart the many constellations of the heart. In a career already marked by authenticity, this single shines as a beacon of her evolving artistry.

Indigenous Folk-Rock Singer-Songwriter Mike Bern Releases Evocative New Single “Into The River”

Eric Alper
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Indigenous Folk-Rock Singer-Songwriter Mike Bern Releases Evocative New Single “Into The River”

Indigenous folk-rock singer-songwriter Mike Bern enters a new creative phase with the release of his single “Into The River.” Building on the acclaim of recent projects including “Echoes” and “We Are The Stars,” Bern continues to define his voice as both a storyteller and a cultural innovator. His latest track reflects the momentum of a career steadily growing in recognition, marked by multiple appearances on the Indigenous Music Countdown and performances across Canada.

“Into The River” demonstrates Bern’s ability to merge reflective lyricism with contemporary energy. The track carries forward the artist’s reputation for creating songs that resonate widely while remaining grounded in his roots and community.

Raised in Tobique First Nation, Bern grew up along the Tobique and Wolastoq rivers, where music often echoed through family gatherings. Captivated by his late uncle’s guitar playing and private jam sessions behind closed doors, he taught himself acoustic guitar more than three decades ago. These early experiences fostered a passion that continues to guide his work today.

A turning point in Bern’s life came during rehab, when a counselor recognized the poetic, song-like quality of his writing. That moment affirmed his path as a songwriter and performer, setting the stage for a career that blends folk and rock with an unshakable sense of identity and purpose. His catalogue, including albums ‘Waponahkew’ and ‘Ancestors,’ showcases his dedication to storytelling and cultural preservation.

“When I wrote ‘Into The River,’ I was reflecting on how love can drift, change, or flow onward, much like the water that defines our territory,” Bern explains. “The river has always been a part of my life and my community—it carries history, memories, and renewal.”

He continues, “I wanted the music to feel both nostalgic and hopeful. The retro energy of the track brings balance to the bittersweet story, reminding us that even in change, there is movement toward something new.”

The song’s lyrics capture this theme of love and impermanence: “I have you in my hand, watching the trees and sand, I hope our love will float into the river, I hope it does.”

Echoing through the refrain, “Round round round round she goes, no one know where she goes,” Bern demonstrates his evolving ability to frame deeply personal feelings within poetic, universal imagery.

“Into The River” also reflects Bern’s commitment to creating music that is both personal and collective. His recent work shows a clear trajectory of growth, drawing on cultural memory, natural landscapes, and lived experience to create songs that continue to reach wider audiences.

By blending his acoustic roots with evolving production choices, Bern ensures that each release marks another step forward. With “Into The River,” listeners are invited to experience not just a song but a reflection on connection, movement, and hope.

“Into The River,” solidifies his place as one of today’s most compelling Indigenous folk-rock voices. The release signals not only his ongoing growth as an artist but also his commitment to carrying cultural traditions into new creative territories. As he continues to perform, record, and evolve, Bern’s music flows forward with both strength and clarity.

Lukas Lennon Heslip Is Redefining the Role of the Producer in North America’s Music and Visual Culture

Eric Alper
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Lukas Lennon Heslip Is Redefining the Role of the Producer in North America’s Music and Visual Culture

In an era when the boundaries between music, film, and branded content are dissolving, Lukas Lennon Heslip has emerged as one of North America’s most versatile creative figures. Splitting his time between Los Angeles and Toronto, Heslip has built a career that places him at the intersection of sound, image, and story—an increasingly crucial space in a post-streaming industry.

Heslip began his career in Toronto’s music world in 2017, managing and producing projects for Canadian artist Ezra Jordan. From humble beginnings producing music videos, he quickly expanded into branded content, spearheading collaborations with some of Toronto’s most recognized food and hospitality brands, including Terroni, Cumbrae’s, Stock T.C., and Porta.

As a freelance producer, his portfolio broadened across mediums. He delivered projects like The Social Drop and the Homebody Music Festival, each balancing intricate set builds with seamless integration of still and motion production. These formative experiences not only sharpened his creative instincts but also embedded him in Toronto’s expanding cultural fabric.

His trajectory soon shifted toward international scope. Joining Agency Arts, a Los Angeles–based creative management agency representing directors and photographers, Heslip became a management consultant on high-end commercial and editorial productions. This period honed his reputation for visual storytelling and cemented his ability to bring precision and artistry to global campaigns.

Today, Heslip is developing a slate of films with Best Crosses Studios, including an upcoming project exploring the creation of the iconic 1990s arcade game NBA Jam. This move underscores his evolution from Toronto’s music scene into international film development, commercial production, and cross-industry storytelling.

What sets Heslip apart is his fluency across mediums. He’s a producer who moves with equal authority in the studio, on set, and in the boardroom. His expertise spans creative direction, production management, branded content strategy, and artist development—anchored by a rare ability to merge technical mastery with a cinematic sensibility.

He has also demonstrated remarkable success with other projects, including the music video Back to Friends by Sombr, where he served as the lead production management consultant. The video achieved significant commercial impact, amassing over 40 million views online and becoming one of Sombr’s most popular releases. Its success was further solidified when it won the “Best Alternative Video” award at the 2025 MTV Video Music Awards.

Industry insiders highlight his professional strengths: Multidisciplinary Production, adept at blending film, music, and branded storytelling into coherent campaigns; Creative Problem-Solving, trusted for translating ambitious concepts into viable, polished productions; Cultural Fluency, skilled at navigating both North American and international creative markets; and Visual Storytelling, shaping narratives that resonate equally in commercial, editorial, and musical contexts.

Recent accomplishments illustrate his upward momentum. His work on large-scale branded campaigns brought together global teams across Los Angeles and Toronto, delivering projects that aligned commercial precision with artistic credibility. At the same time, his transition into long-form storytelling through Best Crosses Studios signals his arrival as a producer poised to influence both the music and film industries.

For Heslip, the future lies in continuing to collapse the boundaries between mediums. As he puts it: “My focus has always been on finding the story that connects people—whether that’s in a song, a video, or a film. The tools change, but the goal doesn’t.”

With an eye trained on both artistic innovation and industry impact, Lukas Lennon Heslip represents a new generation of producers: multidisciplinary, forward-looking, and unafraid to blur the lines between music, film, and commerce. His ascent is not just a career trajectory—it’s a reflection of where the cultural industries themselves are headed.

HERDD Re-Ignites a Queer Pop-Rock Firestorm with Bold Cover of Rough Trade’s ‘High School Confidential’

Eric Alper
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HERDD Re-Ignites a Queer Pop-Rock Firestorm with Bold Cover of Rough Trade’s ‘High School Confidential’

Montreal-born, Sudbury-based artist HERDD steps into the spotlight with the release of his electrifying new single, a cover of Rough Trade’s groundbreaking hit ‘High School Confidential’. Known for his genre-bending pop/rock sound and fearless artistic vision, HERDD reimagines the iconic Canadian track with the same raw passion and queer energy that made it a trailblazer, while infusing it with his own modern edge. The single is now available on all streaming platforms.

“It was such a privilege to share a bill with Carole Pope, a Canadian music icon and a pioneer for queer representation, at Pride Toronto’s The Q Musicale,” HERDD reflects. “That moment meant so much to me, and coming back a year later to debut my cover of her most famous song was truly full circle.”

HERDD, the alias of Francois Cote, has quickly emerged as one of Canada’s most compelling new voices in pop and rock. Born in Montreal, raised in London, and now based in Sudbury, he brings a global perspective to his music.

His 2024 debut album ‘Afterlife’ charted internationally, reaching #41 on the US iTunes Electronic Album charts and breaking into the Canadian electronic charts as well. Known for his captivating live shows, HERDD has graced stages at Canadian Music Week and Pride Toronto, always delivering performances that are both powerful and intimate.

“I like to joke that I’m an honorary 80s kid—even though I was really just born at the tail end of the decade,” he laughs. “But the sound of the 80s—the boldness, the snares, the anthemic choruses—has always resonated with me. Covering a track like this feels natural, because it carries that fearless spirit I’ve always loved.”

In this new rendition, HERDD leans into the song’s most unforgettable lyrics: “She makes me cream my jeans when she comes my way.” Delivered with playful confidence, the line maintains its provocative edge more than four decades later, reminding listeners of the daring honesty that has always defined queer pop culture.

Other lines, like “When she passes me a look I wanna burn my books / Give up high school,” take on new resonance in HERDD’s hands, amplifying the restless longing and desire for freedom that still rings true in today’s youth-driven music movements.

“High School Confidential” was a Top 20 Canadian hit in the early 80s, and its bold celebration of queer desire earned it induction into the Canadian Songwriters Hall of Fame. HERDD’s new version honors that legacy while expanding it for a generation raised on streaming playlists, festival anthems, and TikTok virality.

“I love the rebellious vibe of the track,” HERDD says. “Even though by today’s standards it may not seem as provocative, it was unapologetically queer for its time—and that’s incredibly inspiring. My goal was to preserve that magic while presenting it through my own lens.”

As conversations about identity, freedom, and representation dominate today’s cultural landscape, ‘High School Confidential’ feels more relevant than ever. Its themes of desire, secrecy, and teenage rebellion echo the experiences of queer youth navigating both online spaces and real-world communities. By covering the song in 2025, HERDD connects past and present, reinforcing the message that authentic expression never goes out of style.

With its pounding production, soaring vocals, and undeniable hook, HERDD’s ‘High School Confidential’ stands as both homage and reinvention. It captures the daring pulse of the original while carving out new ground in today’s pop-rock scene, ensuring the track’s place as an anthem for another generation.

Toronto’s Country Rising Star Hayden Ryann Stands Tall with Empowering New Single ‘No Room for Bitchin”

Eric Alper
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Toronto’s Country Rising Star Hayden Ryann Stands Tall with Empowering New Single ‘No Room for Bitchin”

Toronto-born artist Hayden Ryann brings a confident new voice to country-pop with her single “No Room for Bitchin’,” (Slammin’ Media and distributed worldwide by Believe) out now. At just 21 years old, Hayden combines a modern lyrical directness with the warmth of country storytelling and the energy of pop, crafting music that resonates with young listeners who value authenticity and empowerment.

Growing up in Toronto’s Beaches neighborhood, Hayden found her artistic spark early in music, poetry, and visual art. Summers spent in Montreal immersed her in the city’s thriving arts scene, shaping her creative identity. “The recording studio feels like my instrument,” she says, reflecting on her sessions in Nashville, Toronto, and Montreal that laid the foundation for her debut album arriving in 2026.

Her journey is anchored in her own words and experiences. “I’ve written over a hundred songs,” Hayden shares. “Songwriting is how I make sense of the world. It’s how I hold onto joy, let go of frustration, and find strength.” That philosophy runs through her newest track, a collaboration with The Lockyer Boys that centers on self-worth and unapologetic independence.

From the first verse, “No Room for Bitchin’” sets its tone with defiance: “I found a boy, had to let him go / He didn’t like the way I didn’t do as I was told.” Hayden delivers each line with a mix of grit and clarity, transforming personal reflection into a universal anthem for anyone refusing to shrink themselves.

The chorus amplifies that voice: “So you don’t like me, when did I ask? / Don’t get caught up on me, ‘cause I ain’t gonna do it back.” Her conversational delivery and infectious melody underline the message—confidence doesn’t need validation, and self-respect is its own power.

Later in the song, Hayden sharpens the message for her listeners: “So listen up, girls, this is our song / We ain’t gonna apologize when we don’t do nothing wrong.” With that rallying cry, she transforms the track into a collective statement, positioning her music as both a personal release and a cultural moment for her generation.

The anthem is already inspiring movement—literally. A line dance choreographed to “No Room for Bitchin’” is picking up steam across TikTok and Instagram, giving fans a playful new way to embody its message. The video brings the song’s empowering spirit to life, uniting music, movement, and community in a way only Hayden Ryann could.

The impact of “No Room for Bitchin’” extends beyond its hooks. It resonates as a declaration of emotional clarity, offering anthems of resilience to those navigating toxic relationships or societal pressures. Hayden’s ability to channel frustration into empowerment places her in conversation with peers like Maggie Rogers and Lizzy McAlpine while carving a space uniquely her own.

For Hayden, empowerment means presence. “Say what you want, be who you wanna be,” she sings, embodying a philosophy of living without compromise. This message positions her not just as a performer, but as a voice for young women claiming space with unapologetic confidence.

Looking ahead, Hayden is preparing the release of her debut album in early 2026. She promises a body of work that blends her influences—country, pop, and folk—with lyrics rooted in raw honesty. “These songs come from real places,” she says. “They’re about finding joy, holding your ground, and sharing stories that matter.”

With her music set to reach audiences across Canada, the U.S., and beyond, Hayden Ryann stands poised to become one of country-pop’s most empowering new voices. “No Room for Bitchin’” is more than a single; it’s a statement of identity, a soundtrack for resilience, and a reminder to live boldly without apology.

As Hayden puts it herself: “I’m a hell of a girl, in a hell of a world, that’s got no room for bitchin’.”

Canadian Songwriters Unite for Second Edition of Country Talks CAMH Benefit Concert

Eric Alper
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Canadian Songwriters Unite for Second Edition of Country Talks CAMH Benefit Concert

Canadian country artists are once again coming together to share their lived experiences with mental illness, addiction, and other mental health challenges through a unique storyteller-style benefit concert in support of the Centre for Addiction and Mental Health (CAMH).

The second edition of Country Talks: Mental Health will take place Sunday, October 26 at The Rec Room Square One in Mississauga. The show will feature top Canadian country artists performing in a Nashville-style writers’ round, blending personal stories with the songs that have been part of their healing journey. All proceeds will be donated to the CAMH Foundation.

This year’s lineup includes Andy Colonico, Taylor Wilson, Nicole Christian, Jessica Towler, Tim Hance, and Angelica Appelman. Toronto-based duo Broadtree will return as hosts, following the sold-out 2023 debut at Oakville’s Moonshine Café, which raised over $1,000 for CAMH through ticket sales, raffles, and donations.

“We didn’t know what to expect when we launched the first show,” says Country Talks co-founder Armand Antony. “The subject matter can make people uncomfortable, and the artists were incredibly vulnerable. But the way the audience came together to create a safe, supportive space was inspiring — it became the perfect setting for this kind of event.”

Nicole McCafferty, Antony’s partner in Country Talks, added “Music is a universal language. Someone might not relate to a condition like bipolar disorder or schizophrenia because of stigma or fear, but they can relate to the emotions in a song. That connection makes difficult topics feel less distant — it opens the door to understanding.”

The series aims to normalize conversations about mental health the same way people discuss any other medical condition. For many performers, the Country Talks stage has been the first place they’ve spoken publicly about their struggles.

Taylor Wilson, a Hamilton-based artist who headlined the inaugural concert, recalls, “I’ve shared my story online, but saying it out loud in a packed room was something entirely different. The response from the audience was deeply moving — people connected not just with the music, but with the honesty behind it.”

Wilson says the event is a powerful reminder that open conversation can be healing: “While we’ve made progress, stigma still exists. Events like this give people permission to speak up, and that can change lives.”

“CAMH Foundation is grateful to Country Talks for their support and to all of the Canadian artists for courageously sharing their lived experiences,” says Deborah Gillis, President & CEO of CAMH Foundation. “This event not only raises vital funds for Canada’s leading mental health hospital, it sparks open, hopeful conversations that remind people there is always help.”

Tickets for Country Talks: Mental Health are available by donation and can be purchased online at https://countrytalks2.eventbrite.ca

Country Talks Mental Health vol 2 – an evening of songs and storytelling to benefit the Centre for Addiction and Mental Health

When: Sunday, October 26, 2025 @ 3:00pm

Where: The Rec Room Square One: 100 City Centre Dr #1-705, Mississauga, ON L5B 2C9

Tickets by $20

Public on sale: September 12, 2025

More info and tickets at https://countrytalks2.eventbrite.ca

From Cabaret to Studio, Kelly Clipperton Finds Renewal with “Summer’s Gone”

Eric Alper
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From Cabaret to Studio, Kelly Clipperton Finds Renewal with “Summer’s Gone”

Toronto’s own Kelly Clipperton has long embodied the role of Renaissance man, and with his latest release “Summer’s Gone,” he cements his place among the great survivors and visionaries of Canadian music. His artistry, spanning four decades in theatre, film, fashion, and song, proves that endurance and reinvention are not just survival tactics, but an ethos of creation itself.

“I honestly didn’t know I had this live piece in me,” Kelly reflects on his cabaret triumph Let’s Assume I Know Nothing, And Move Forward From There. Directed by Naomi Campbell, the show sold out The Monarch Tavern in May 2024 and returned for a two-week run at Factory Theatre the following March. “It proved to be the vehicle that pulled everything I do together,” he says, from designing costumes and projections to embodying his own grandmothers on film.

This instinct for integration has defined Kelly’s entire career. “I’ve worked as a producer, songwriter, playwright, singer, designer, actor, stylist, photographer, filmmaker and former PSW,” he explains, tracing a path that has landed him on the covers of NOW, eye, Xtra!, Capital Xtra!, The Star, The Globe and Mail, Boom, Prairie Dog, Windsor Star, Fab and Out. His band Kelly & The Kellygirls released seven recordings between 2004 and 2014, toured across Canada, the UK and the US, and reached indie chart success with the singles “Catherine Deneuve and the Deus Ex Machina,” “Better Times” and “Vodka + Cynicism.”

“Summer’s Gone” arrives as Kelly’s first new single in over a decade and signals the beginning of a fresh era. Written in the afterglow of his cabaret’s closing night, it channels the bittersweet rush of endings that spark new beginnings. “As I was saying goodbye to the team on the closing night of my show, I had an overwhelming feeling of: this will never happen again. Not like this at least,” he recalls. “It felt like saying goodbye to new friends you made during summer camp.” The next day, the song poured out of him in a single sitting at the piano.

The track blooms with shimmering imagery and aching memory. “Live inside my gaze and wave goodbye / never get lost please come along,” Kelly sings, his voice carrying the heat of nostalgia. Elsewhere, his lyrics ache with clarity: “Crystallize and baby your summer’s gone.” There’s longing, yes, but there is also release—a moving on that makes room for what’s next.

Anchored in pulsing production and intimate vocals, “Summer’s Gone” resounds as both a personal elegy and a communal hymn. Kelly captures what it feels like to hold tight to a moment that can’t return, while finding strength in the inevitability of change. “I want some sweetness in my throat / there was a time when I believed that this heatwave was the only way out,” he sings, revealing both the vulnerability and resolve that mark his latest work.

Such creative resilience defines Kelly’s enduring place in Canadian arts. Forty years into a career that began with a York University BFA in Theatre, he continues to move seamlessly between disciplines. His work is never bound to one medium, but united by a singular drive: to craft, to connect, to leave audiences changed.

What sets Kelly apart is not only his versatility but his vision. As a gay artist who has long embraced representation and authenticity, his music and performance carry the weight of lived experience. “I reflected on going to IMC music camp at 16 and the boys I had crushes on and the ease I felt, possibly for the first time as a young gay man, in the company of these other musicians,” he shares. That memory of freedom, joy, and belonging still pulses through his art today.

“Summer’s Gone” is the first glimpse of a full-length album expected in spring 2026, his first in twelve years. If the single is any indication, the album will not simply mark a return, but a revelation: a summation of everything Kelly has lived and a declaration of what still lies ahead.

Kelly Clipperton stands as proof that longevity in music is not about holding on—it’s about letting go at the right time, so that new work can emerge. “Summer’s Gone” is a song of farewell, but also a bright introduction to a future that Kelly continues to shape with passion, persistence, and brilliance.

Flamenco Virtuoso and MVP Guitarist of Jesse Cook’s Band Matt Sellick Releases “Drink from the Fountain” from ‘Watching the Sky’

Eric Alper
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Flamenco Virtuoso and MVP Guitarist of Jesse Cook’s Band Matt Sellick Releases “Drink from the Fountain” from ‘Watching the Sky’

Matt Sellick is widely recognized by discerning audiences as the MVP guitarist in Jesse Cook’s internationally renowned ensemble, a position that requires not only flawless technique but also a rare depth of musical intuition. To play alongside Cook is to exist in a crucible of precision and passion, where every note must balance virtuosity with emotional immediacy. It is within this demanding environment that Sellick has distinguished himself, quietly amassing a reputation as one of Canada’s most gifted and versatile guitarists.

Born in Thunder Bay, Ontario, Sellick’s roots trace back to the rugged landscapes along Lake Superior, environments that continue to inspire his writing. After earning his HBMus at Lakehead University in 2013, he immersed himself in the flamenco heartlands of Spain, studying with master guitarists and absorbing the genre at its source. His formative time in Madrid and Granada provided the foundation for the artistry he now shares with audiences around the world.

“When I first went to Spain, I felt as if I had finally found the beginning of my path,” Sellick recalls. “Everything about the experience—the narrow streets, the sound of flamenco echoing from balconies, and the friendships I made—showed me the kind of musician I wanted to be.”

Upon returning to Canada, Sellick became a fixture in his hometown, performing as a soloist with the Thunder Bay Symphony Orchestra and presenting intimate solo concerts. These years gave him the chance to experiment with orchestration and develop a growing catalogue of original work that reflected both discipline and imagination.

In 2019, Sellick moved to Toronto, marking the beginning of a new phase in his career. Joining Jesse Cook’s touring band, he performed across Canada, in more than twenty U.S. states, and in eight European countries. These experiences refined his artistry to a razor’s edge. “My years with Jesse Cook’s band taught me what it means to perform at the highest level,” Sellick reflects. “Every night demanded absolute precision and passion—it sharpened me as both a guitarist and a musician.”

Yet alongside this high-profile work, Sellick was quietly crafting another repertoire. For over a decade, he orchestrated his guitar works for full symphony, a project that culminated in Watching the Sky, released in June 2025. The album represents both a return to his musical roots in Thunder Bay, where the Symphony gave him his first orchestral stage, and a bold step forward into a new sound world.

“With Watching the Sky, I wanted to show people the music I’ve been quietly building for a decade,” he explains. “Flamenco is still my heartbeat, but now it’s in dialogue with the orchestra, with landscapes, with memory. It feels like opening a door to a new chapter.”

The single “Drink from the Fountain” holds special resonance. Inspired by advice he once received from Toronto flamenco guitarist Nicolas Hernandez, the title refers to traveling to Spain to study at the source of the music. “That phrase—‘drink from the fountain’—has stuck with me my whole life,” Sellick says. “It reminds me of buying my first flamenco guitar in Madrid, of seeing the Alhambra, of the mentors who shaped me.”

Sellick’s compositions echo personal milestones: the sleepless night before purchasing his first flamenco guitar, the friendships formed in Spanish mountain towns, and the gratitude for those who opened doors along the way. “It reminds me of where I’ve been, what I want to learn, and where I want to go,” he adds. “Every time I play it, I feel that sense of discovery again.”

The response to his orchestral premieres has been remarkable, with audiences celebrating the seamless integration of flamenco textures and symphonic grandeur. His collaborations with conductor Evan Mitchell and percussionist Marito Marques further highlight the social, collaborative spirit of his music. “In flamenco, everyone supports one another, but each person gets their moment to be the soloist,” Sellick notes. “That’s what I wanted this album to reflect.”

What once seemed like an undercurrent in his career now emerges as a defining statement: Sellick is poised not only as a master interpreter of flamenco guitar, but as a composer with a distinctive orchestral voice. His trajectory suggests an artist on the cusp of wider recognition, one whose music bridges cultures and traditions.

Touring remains central to this momentum. Audiences will have the chance to hear his new work live in a series of performances across Canada, and internationally as part of Jesse Cook’s acclaimed ensemble. These concerts will showcase Sellick’s rare gift: the ability to connect intimacy and virtuosity with expansiveness and grandeur.

For more information, please contact:


Upcoming Performances – Matt Sellick:
Solo Concerts
May 9, 2026 | St. Paul’s United Church | Thunder Bay, ON
With Jesse Cook’s Band
October 21, 2025 | The Ark | Ann Arbor, MI
October 22, 2025 | The Ludlow Garage | Cincinnati, OH
October 23, 2025 | North Shore Centre for the Performing Arts | Skokie, IL
October 24, 2025 | The Kent Stage | Kent, OH
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November 19, 2025 | Grand Casino Brussels | Brussels, Belgium
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Cuban Roots, Canadian Home: Montuno Cubano Release Salsa and Bolero Son Gems “Tu Arete” and “Bendita Luz”

Eric Alper
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Cuban Roots, Canadian Home: Montuno Cubano Release Salsa and Bolero Son Gems “Tu Arete” and “Bendita Luz”

Montuno Cubano announces the release of two new singles—“Tu Arete” and “Bendita Luz” out now—followed by title cut from their album ‘Frágil de Cristal’ on October 10, 2025. Blending Salsa, Bolero Son, Son Cubano, Guaracha, and Bolero, the album brings Cuba’s most cherished traditions into dialogue with the global stage, reimagined from the group’s new home base in Prince Edward Island, Canada.

At the heart of Montuno Cubano are Cuba-born brothers Jorge Luis Peña Acosta (vocals, requinto, guitar) and Luis Peña Acosta (vocals, guitar, percussion), whose sibling harmonies and partnership have become the group’s defining sound. Alongside them, a talented circle of musicians—including Mark Carr-Rollitt (Latin percussion), Christopher Martell (upright bass), Devin Hornby (electric bass), and Sergey Varlamov (keys, violin, bass)—contributed to the studio sessions and select live performances, enriching the recordings with authenticity and depth.

Montuno Cubano’s repertoire spans salsa, guaracha, bolero, rumba flamenca, and son cubano, weaving stories of love, resilience, and cultural memory. As Jorge explains: “First I hear the rhythms in my head. If I am excited, I write salsa or guaracha. If I am calm, I write boleros. Rhythm drives the song, but now that I live in Canada, I focus on both the rhythm and the story.”

For new listeners, Salsa is a vibrant Afro-Caribbean dance music style; Bolero Son blends romantic bolero with the rhythmic backbone of Cuban son; Son Cubano is the foundational Cuban genre mixing Spanish guitar with African percussion; Guaracha is a fast-paced, festive style once sung in Havana’s theatres; and Bolero is the quintessential Latin American love song, slow and tender, often poetic in its lyrical expression.

These traditions echo through Montuno Cubano’s new work. In “Tu Arete,” Jorge writes with intimacy: “Hoy sentí envidia de tu arete / Que sin ser tan fuerte a su antojo te tenía”—a meditation on desire and closeness. In “Bendita Luz,” the refrain pleads:

“Bendita luz de la vida, alumbrame mi camino / Apartame to lo malo, que no se metan conmigo,” a spiritual invocation for light and protection. And in the forthcoming title track “Frágil de Cristal,” he sings: “Como yo olvidarte a ti mi amada frágil de cristal / Si eres una mujer hermosa, delicada y muy sensual,” a bolero ode to love and vulnerability.

The songs were recorded over several years at Crabbe Road Productions in Prince Edward Island with producer Sergey Varlamov, whose violin contributions added an international texture to the band’s Cuban foundation. “Although the style of my music is Cuban, with Sergey adding violin my recordings feel more international. It’s amazing to hear how the requinto, violin, and percussion work together,” Jorge reflects.

Bassists Christopher Martell and Devin Hornby alternated across the sessions, while percussionist Mark Carr-Rollitt provided bongos, congas, and claves, ensuring authenticity in every rhythmic layer. “It is important to understand which percussion instrument is right for each song,” Jorge adds. “Mark understands.”

Montuno Cubano’s music is both an homage to heritage and a contemporary offering. It highlights Cuba’s deep well of musical genres while making them accessible to audiences around the world. For world music enthusiasts, it is a showcase of cultural lineage; for newcomers, it is an introduction to one of the most influential musical traditions. Above all, it is an invitation to feel joy, connection, and rhythm.

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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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