Rock band Better Than Ezra releases an energetic and engaging cover of Role Model’s hit “Sally, When The Wine Runs Out,” available on all streaming platforms now via Ezra Dry Goods.
The group carefully preserves the spirit of the rising smash while turning up the volume, boosting the gain, and adding their own unmistakable and undeniable touch. Upbeat riffing locks right into a head-nodding groove as vocalist and guitarist Kevin Griffin carries the original’s lyrics with swagger and style. In their reverent hands, the timeless hook would feel right at home on MTV’s 120 Minutes back in the day or booming over the polo fields at Coachella 2026.
They’ve Ezra-fied the song in the best way, making summer fireworks out of the friction between Gen-Z viral excitement and Gen-X vital energy.
“We’ve loved this Role Model song since it came out a few months ago,” shares Griffin. “At a recent soundcheck, we started playing it and decided we had to do our own version of the song just in time for the dog days of summer. Enjoy!”
“Sally, When The Wine Runs Out” appears on the deluxe version of Role Model’s latest album, Kansas Anymore (The Longest Goodbye). The track has generated over 100 million streams and made its presence known on Billboard’s Alternative Airplay Chart, Hot Rock & Alternative Songs Chart, and Hot Alternative Songs Chart.
Expect Better Than Ezra to potentially drop it into their upcoming set during Pilgrimage Music & Cultural Festival at The Park at Harlinsdale Farm in Franklin, TN on September 27-28. It will be the band’s eighth appearance on the bill. Pilgrimage Music & Cultural Festival is also produced by Griffin, Michael Whelan, and W. Brandt Wood. Now in its 11th year, it has become a tradition for an ardent community of annual attendees, while it continues to captivate newcomers.
2025 notably marks the 30th anniversary of Better Than Ezra’s platinum-certified classic breakout album, Deluxe, featuring “In the Blood,” “Rosealia,” “Porcelain,” and the generational hit “Good,” which soared to No. 1 on the Billboard Modern Rock Tracks Chart. Indicative of the record’s enduring impact, the record has amassed north of 100 million total streams.
Rising Nashville star Carter Faith shares a new song, “Bar Star,” via MCA. The track offers an early look into her highly anticipated debut album, Cherry Valley, out now.
“‘Bar Star’ is a fun song about a lovable honky-tonk man,” says Carter. “In simple terms, he’s the star of the bar—for better or for worse—but damnit, she loves him.”
Carter unveils a surprise bonus track, “Billy Bob Thornton (Worktape),” alongside the new single.
Carter says, “I wrote this song about Billy Bob Thornton because I literally love him. I’ve always thought he was so talented, and I’ve wanted to marry many of the characters he’s played over the years,” she continues. “I just had to write about it, and I hope people like this little glimpse into my one-track mind.”
“Bar Star” follows previous album offerings “If I Had Never Lost My Mind…,” “Grudge,” and most recently, “Sex, Drugs and Country Music.” The tracks have served to tide fans over since her The Aftermath EP last fall, which featured a duet with Alison Krauss.
Cherry Valley is a document of Carter’s time in Nashville, working chronologically through her breakout successes and gut-punching breakups, new loves and family dustups. It’s named for an imagined place, a road sign Carter once saw that came to signify her creative home, a sweet spot where her old school influences like Tammy Wynette, Nancy Sinatra, Pet Sounds and Revolver meet today’s country. The album synthesizes all that into a signature Carter Faith sound.
The songs on Cherry Valley span Carter’s journey from her North Carolina hometown to Nashville, with all the heartbreak, triumph and hazy nights in between. Carter and longtime producer Tofer Brown spent two years crafting tracks for the album before finally entering the studio in 2024 to lay it down. All the while, Carter was working relentlessly to climb the ranks of country music, signing to MCA and Universal Music Publishing Group, gracing the Opry stage a dozen times, sharing stages with idols like Willie Nelson, and racking up hundreds of millions of streams.
Moore Ave don’t polish their edges, they sharpen them. With their latest single “Alright,” the band delivers a full-throttle anthem forged in hardcore riffs, personal scars, and the energy of basement shows that raised them. This isn’t a slick studio experiment—it’s five friends pushing themselves past their breaking point, then wiring that chaos into sound.
The track started as a riff that guitarist Josh sat on for years before the group cracked it open. Once the lyrics locked in, the song became a declaration of survival and defiance, a direct line from Moore Ave’s roots to the present. Hardcore is a language they’ve always loved, and “Alright” is their loudest attempt yet to speak it fluently. Recorded with Scott Middleton (ex-Cancer Bats) at Highwattage Cottage, the track captures both raw power and precise intent, the kind of noise that doesn’t apologize.
Moore Ave are more than a band—they’re a chosen family. Three blood brothers and two lifelong friends, they’ve grown from basement jams on their street into a fixture of Ontario’s punk circuit. Their basement, nicknamed The Underground, once served as a refuge for anyone who needed it. That ethos of inclusion and solidarity still runs through every chord they play, from pop-punk hooks to hardcore breakdowns.
“Alright” hits from the perspective of someone clawing their way out of toxic relationships and broken reflections. It’s music for anyone who’s been manipulated, hurt, or gaslit, and decided to fight their way back instead of folding. The venom is real, the redemption is loud, and the message is simple: survival is its own victory.
“I know exactly who I am / Here I stand, a broken man / My fists are up, I’m here to fight / I’ll fight for me and take back my life.” That’s not just a lyric—it’s a middle finger to the weight of the past. Later, the refrain boils it down to a scream: “It’s about time I take back, MY F**KING LIFE. All. Right.”
The band put the video together in true DIY spirit, taking over Cy’s Lanes and Lounge in Aylmer, ON. With the owner’s blessing, they turned a Sunday afternoon into their own punk playground—bowling, drinking, and filming chaos until the footage matched the music’s intensity. Drummer Shawn MacDonald handled the filming and editing himself, proving once again that Moore Ave’s creative output always stays in-house, raw, and personal.
This release also marks the first with their newest member, Mike York, who joins longtime brothers-in-arms Josh, Joe, and Jack and their extended family. His presence pushes the band’s energy even higher, a natural progression for a crew that never stands still.
Artwork for “Alright” features a blue snake, designed by Shelby Hayward. It’s a symbol of manipulation and deceit, but also rebirth, healing, and resilience. Punk has always thrived on contradictions, and Moore Ave wear theirs proudly on the sleeve.
With “Alright,” Moore Ave add another chapter to a discography that includes “Relapse” and “Second Best”—songs that carve out honesty from struggle and blast it through amps at top volume. Live, they remain untouchable, converting any skeptic with sweat, riffs, and crowd connection.
Moore Ave aren’t here to fit into anyone’s definition of punk—they’re here to live it on their own terms. “Alright” is the latest reminder: loud, uncompromising, and ready for anyone who needs it.
Progressive rock has always been a genre of confrontation—between complexity and accessibility, structure and abandon, intellect and raw feeling. With their searing new single ‘FREE,’ out now, guitarist-producer Martin Larose and vocalist-lyricist Anaïs Vanessa deliver a protest song that feels both timely and timeless. “If you think you’re free think twice / Freedom’s more than rolling dice,” Vanessa warns at the outset, setting the tone for a track that interrogates the hollowness of liberty in an age of manipulation and deceit.
Larose is no stranger to reinvention. Born in Saguenay–Lac-Saint-Jean, Quebec, he first studied classical guitar and double bass at the Chicoutimi Conservatory before becoming known for a style that blends tapping techniques, atmospheric ambience, and progressive virtuosity. Recognized by Guitar World in the early ’90s and a fixture at the International Guitar Show in Quebec, Larose established himself as a guitarist equally adept at acoustic pyrotechnics and electric ferocity. His career includes collaborations with Richard d’Anjou, Matt Starr, Fred St-Gelais, and even Loren Gold on a pandemic-era cover of The Who’s “Let’s See Action.”
By contrast, Anaïs Vanessa’s path is rooted in lyrical intimacy. The daughter of a chansonnier, she grew up in Saguenay and began performing in bars as a teenager, often scribbling lyrics in notebooks before she ever considered herself a songwriter. Her melancholic pop-rock-folk is charged with emotion, shaped by her work in education and as a counselor at a drug addiction treatment center. At 31, she made a bold leap into professional music, studying at the École nationale de la chanson and debuting her original songs at the Festival de la Chanson de Saint-Ambroise.
“FREE” is where these two trajectories converge. Written by Vanessa and composed by Larose, the track unfurls as a dialogue between guitar-driven urgency and lyric-driven conviction. “When one’s control becomes our chain / What’s left for us but silent pain?” Vanessa sings, embodying the existential anguish of communities whose voices are suppressed. The refrain insists: “Free / But we’re tied to strings / Free / You’re manipulating,” collapsing the word’s promise under the weight of betrayal.
The production of “FREE” carries the meticulous layering Larose has refined at his state-of-the-art Le Studio Septentrio. He cites Yes bassist Chris Squire as an influence, noting how basslines shadowed his thought process during composition. The track weaves dense guitar textures, bass counterpoint, and pop-leaning hooks, creating what Larose calls a “multi-layered” piece full of “Easter eggs” for attentive listeners. For all its technical detail, the song insists on urgency—its polished veneer only sharpens its protest.
Thematically, “FREE” is uncompromising. It addresses global injustice without geographic or temporal boundaries: “In the middle of darkness / Lost in emptiness / Under bombs and fire / The dire, the better,” Vanessa sings. It is at once a personal cry and a generational indictment. For Larose, a Gen-X veteran, collaborating with a younger artist allowed him to filter decades of experience through Vanessa’s incisive perspective: “I’m writing songs with someone from a much younger generation—someone who sees the world a bit differently, but also very much the same when it comes to global issues and injustice.”
The song also carries the intimacy of their shared history. Larose recalls meeting Vanessa as a shy teenager: “At 15, she delivered a rendition of The Cranberries’ ‘Zombie’ in front of a packed audience, and I was totally floored.” That memory now resonates across their collaboration, a testament to continuity and transformation in Saguenay’s music community. Their partnership, once teacher-student, has matured into a creative dialogue where Larose’s progressive rock sensibilities collide with Vanessa’s lyrical precision.
“FREE” also anticipates their full-length collaborative album Solivagant Tales, slated for release in March 2026. The title signals wandering narratives, solitary yet universal, and suggests a progressive rock project unafraid of conceptual ambition. Larose’s previous album Songs from the Kite (2024) hinted at this expansion, but with Vanessa as co-writer, the stakes feel different—more socially charged, more vocally urgent.
If progressive rock’s classic era thrived on grandiosity and abstraction, Larose and Vanessa reorient the genre toward lived political experience. Their insistence that freedom cannot be reduced to platitudes—or worse, weaponized as manipulation—places “FREE” in conversation not only with rock protest traditions but with contemporary global movements for justice. Its lyrical refrains are designed not just for listening but for lingering, echoing in the listener’s moral consciousness.
Ultimately, “FREE” is both a protest song and a manifesto for resilience. It channels Vanessa’s therapeutic lyricism and Larose’s layered guitar architecture into a track that speaks across generations, cultures, and genres. In its refusal to accept freedom as mere rhetoric, the song aligns with progressive rock’s original ethos: to challenge, to question, to demand more. As Larose and Vanessa suggest, true freedom is never given—it must be fought for, sung for, and, above all, believed in.
Forget middle eights. Forget bridges. Lindsay, ON’s Asthma Kids have a message and they’re yelling it straight from the steel guts of across the planet to all the indie punks out there. Their new single “Die on This Hill (The Meek Are Getting Ready Pt II)” is a warning shot. A middle finger in 4/4 time to late-stage capitalism, billionaires who pay no taxes, and the idea that your kid might never afford rent.
Asthma Kids is the brainchild of Trevor Hutchinson (Big Eddy, Pardon Beggars) and JP Gill, a duo who refuse to color inside the genre lines. “We leave labels for soup cans,” Hutchinson quips. Punk? Post-pop? Freak-country? Americana? Check all that apply and throw it out. “Make art! Put your phone down and record that song,” Hutchinson insists. That’s the mantra behind Asthma Kids: authentic, angry, and unfiltered.
The new single, mixed at Abbey Road and originally released via UK punk label Dammit Records, is already gaining steam internationally. “I was pissed off,” Hutchinson admits. “My daughter might never rent an apartment. Then I read about billionaires not paying taxes. So I wrote the most direct thing I could.” The song, recorded in three hours at Black Tail Recording during a solar eclipse in Hamilton, Canada’s punk Mecca, hits like a headbutt.
“I didn’t want singer-songwriter drivel clouding the message,” Hutchinson added. “It had to be crystal clear. It’s an f-you to the super elite. But after I nearly died — strokes, rehab, all that — I started hearing hope in it too. It became energizing. Even if I use a cane to (expletive) walk.”
From the band that gave you alien-themed alt-country and punchy power pop (remember “Fenelon Falls 4 Bobcaygeon 0”?), this track takes their ethos further. It’s militant, raw, and real — the only Canadian song on the new ‘Dam-Nations’ punk compilation. Their ‘comedy’ track “Alien Love” has nearly 20K YouTube views. “Not bad for outsider art,” Hutchinson deadpans.
Asthma Kids want co-conspirators. This is music as manifesto. It’s a sweaty basement show turned call to arms. The duo has been semi-finalists in the International Songwriting Competition twice (yes, once in comedy, once in Americana), and they’re still defying expectations with every track.
“Die on This Hill (The Meek Are Getting Ready Pt II)” is out now on all platforms. Stream it, scream it, and maybe think about which hill you’d die on — before the rent goes up again.
With a sun-kissed voice and a heart tuned to the rhythms of the natural world, Land Heart Song (a.k.a. Tiiu Strutt) returns with a powerful new single, ‘You Belong Here’, out now. Already shared as a moving music video in collaboration with Child and Nature Alliance of Canada (CNAC) and Black in Nature, the song invites listeners of all ages to lean in, listen, and feel their place in the world — as nature intended.
Since 2003, Tiiu has toured nationally, recorded four albums, been featured on CBC’s Canada Live, and helped define what family music can be. A collaborator at heart, she co-founded Toronto’s celebrated KIDZAC series and has performed at festivals alongside artists like Juno-nominee GinaLina. Her songs are rooted in her love of land and shaped by a growing understanding of social justice.
“This song is rooted in my own love for the outdoors — and also my realization that not everyone has had the same opportunity to nurture their relationship with nature,” explains Tiiu. “After George Floyd’s death, I started learning about racism in outdoor spaces. This song is my way of joining that conversation. It is about affirming that we all belong in nature. My hope is that as we nurture everyone’s sense of belonging in the outdoors, we will be more likely to better care for each other and the planet.”
The chorus is gentle, firm, and unforgettable: “You belong here, my dear. You belong here.” Tiiu’s voice is both lullaby and lantern, guiding listeners toward connection — with each other and the Earth. Inspired by stories of Black Canadians reclaiming outdoor joy, including Elladj Baldé’s figure-skating videos and Lukeisha Andrews’ work with Black in Nature, the song stands as an invitation to all: step outside, you’re already welcome.
Produced by Joel Schwartz (Dione Taylor, Shawna Caspi), ‘You Belong Here’ features Joel on acoustic and electric guitar, with Mark Mariash on drums. The track blends singer-songwriter sincerity with a rootsy elegance that crosses genre lines. It’s as if Raffi and Brandi Carlile wrote a campfire anthem together — with a purpose.
The accompanying music video — already viewed widely as part of CNAC’s anti-racism training — showcases Black families joyfully immersed in nature. “It’s a celebration of belonging and an invitation for us to explore together what belonging in nature means.”
Land Heart Song is taking that message on the road with performances throughout Ontario into 2026, including multiple shows at the beloved KIDZAC series she co-hosts. Whether it’s a forest, a festival, or a local library, each show is a chance to remind listeners that belonging isn’t something you earn — it’s something you come home to.
Tiiu offers this closing reflection: “We’re in a time when nurturing a sense of belonging matters more than ever. This song is an offering that I hope may nurture that.”
2025–2026 Tour Dates:
November 9, 2025 – KIDZAC, Toronto, ON December 14, 2025 – KIDZAC, Toronto, ON December 18, 2025 – Solstice Celebration, Mount Albert, ON January 11, 2026 – KIDZAC, Toronto, ON February 8, 2026 – KIDZAC, Toronto, ON March 8, 2026 – KIDZAC, Toronto, ON April 12, 2026 – KIDZAC, Toronto, ON
Toronto’s arts and advocacy communities are joining forces in a bold new initiative to confront one of the city’s most urgent challenges: homelessness. At the heart of this effort is “The Forgotten Homeless,” a powerful musical and social campaign created by Toronto singer-songwriter Richard Todd, whose message of empathy, action, and hope is resonating across Canada.
The initiative’s impact extends beyond the recording studio. Todd’s guitar, lyric sheet, and the accompanying music video for “The Forgotten Homeless” are now part of the City of Toronto’s Market Gallery exhibition, ‘At Home in Toronto’, which runs through November 30.
“Visitors are drawn to Todd’s guitar on display, often stopping to listen to the original song and view the handwritten lyrics,” says Kendra Campbell, Museum Administrator of the City’s Museum & Heritage Services. “It’s a vivid example of how art can illuminate the housing crisis while celebrating community-driven solutions.”
According to a 2024 Street Needs Assessment by the City of Toronto, the city’s homeless population has more than doubled since 2021 — from approximately 7,300 to 15,400 people. This rise reflects complex social factors, including a lack of affordable housing, limited income support, and gaps in health and refugee services. Within this reality, “The Forgotten Homeless” brings together artists, advocates, and citizens to build awareness and inspire change through creativity, compassion, and collaboration.
Written by Todd and performed by his ensemble Artists Against Homelessness, the song serves as both a tribute and a call to action. The group includes acclaimed Toronto artists such as Chris Birkett, Sarah Siddiqui, David Moses, Anna Goldsmith, Luciana Santaguida, Michael Quattro, Shari Tallon, and others.
All streaming royalties from the project are being donated to WoodGreen Community Services’ UNMET Needs Campaign, which supports those experiencing homelessness. The museum installation also features a QR code that enables visitors to stream the song, providing additional support for WoodGreen’s programs.
“I’m very grateful to the City of Toronto and WoodGreen for their dedication to this cause,” says Todd. “Music has the power to unite people. Through this song, we want to remind everyone that homelessness affects us all, and that each act of kindness makes a difference.”
Todd’s artistic journey underscores his deep commitment to community. Best known as the lead singer, guitarist, and songwriter for the Toronto band Redpath Traffic, he is also the founder of Warm it Up! — a grassroots outreach initiative that provides essential items such as socks, gloves, and coffee cards to people in need. To date, the program’s volunteers have assisted more than 3,800 individuals in Toronto and beyond.
Producer Chris Birkett, a Juno Award–winning musician known for his work with Sinead O’Connor, Talking Heads, and Alison Moyet, brought his world-class expertise to the project. “Richard’s song stands out because it comes from genuine empathy,” says Birkett. “This initiative turns music into a tool for healing and social impact.”
By uniting artists, advocates, and audiences, “The Forgotten Homeless” exemplifies how the arts community can mobilize compassion into tangible change. The project continues to grow in scope, with media coverage, museum inclusion, and partnerships ensuring that its message reaches new audiences across Canada.
Through melody, storytelling, and collective purpose, Richard Todd and Artists Against Homelessness offer not only awareness but also action — reminding Toronto that every voice, every note, and every gesture of humanity can help bring lasting change.
Award-winning Canadian singer-songwriter Jon Mullane is setting the airwaves ablaze once again with his heartfelt new single, “Remember in November.” The track, co-written with Grammy-nominated hitmakers Michael Dulaney (Faith Hill, Blake Shelton, Kenny Chesney) and Michael Jay (Celine Dion, Martika, Eminem), is the first release from his forthcoming EP ‘The Road’, and showcases Mullane’s unmistakable blend of rock, pop, and cinematic storytelling.
Written in Nashville’s legendary Peer Music Publishing studio, “Remember in November” is a warm, reflective anthem about connection, change, and memory — a song that feels like the golden glow of late summer, wrapped in melody and nostalgia. With shimmering harmonies and laid-back grooves that nod to the classic sound of the Eagles, the track channels timeless songwriting through a modern pop-rock lens. Produced by Toronto’s Creighton Doane, it’s a perfect reminder of why Mullane remains one of Canada’s most consistently compelling voices in contemporary pop-rock.
Hailing from Halifax and splitting his time between Mahone Bay and Los Angeles, Mullane has carved a global career rooted in authenticity and melody. His track record includes multiple Top 40 Billboard radio singles in Canada and the U.S., with hits like “My New American Girl” breaking into the Top 40 at #32 on the U.S. Hot AC chart. His music has also soundtracked major moments, from NBC’s Olympic Games coverage to prime-time TV and film placements — proof that his songs connect across audiences and borders.
With “Remember in November,” Mullane captures the fleeting sweetness of a moment you never want to end. As he sings, “Here in a moment, the sun will disappear into the ocean, but we will still be here,” he paints a vivid scene of timeless romance. The chorus glows with hope and longing:
“I will remember in November / When these golden skies turn grey / We were together, felt like forever / I won’t let it fade away.”
That poetic heart is matched by a sweeping production that balances the intimacy of Mullane’s voice with the spaciousness of a live band. It’s the sound of summer giving way to fall — and a reminder that even as the seasons change, the memories remain.
“‘Remember in November’ came together so naturally,” Mullane shares. “Writing with Michael Dulaney and Michael Jay was an incredible experience — three worlds colliding in one afternoon. We wanted to capture that exact feeling when you know something special is happening and you want to hold onto it forever.”
He continues, “Music has always been about connection for me — finding that spark that makes you feel alive. This song is about remembering the light, even when the days get shorter.”
“Remember in November” carries the unmistakable warmth and optimism that defines Mullane’s career. It’s an anthem for dreamers, for believers, and for anyone who still finds beauty in the changing tides of life. With ‘The Road’ arriving in early 2026, Jon Mullane’s next chapter is wide open — and it’s already shining bright.
Internationally acclaimed Italian-Canadian soprano Giorgia Fumanti returns with her highly anticipated new album ‘Cinema II’, a luminous celebration of the world’s most beloved movie songs. Following the success of her Cinema Collection Deluxe Edition, this new project arrives on October 24, 2025, preceded by the single “Who Wants to Live Forever”— out now on all major platforms including Spotify, SoundCloud, and YouTube.
For Giorgia, ‘Cinema II’ represents a continuation of her artistic dialogue with film and music—an invitation to dream, to remember, and to feel. “I was always a fan of Queen’s music, and especially of Freddie Mercury’s voice,” Giorgia shares. “Recording ‘Who Wants To Live Forever’ was a natural choice, a perfect fit for this collection of songs that celebrate timeless emotion.”
The new album, produced and arranged by her long-time collaborator Stefano Galante, brings Giorgia’s signature vocal purity and expressive warmth to reimagined classics from The Lion King, Titanic, The Godfather, Mulan, Life Is Beautiful, The Bodyguard, and more. “The songs remind me of memories from my childhood in Italy,” she explains. “They’re not opera; they’re not pop—they’re in between. I can start like a pop singer, then go high like a soprano. It’s a style that feels completely natural to me.”
Her rendition of “Who Wants To Live Forever” is accompanied by a striking video inspired by the flow of time—an elegant meditation on love and eternity. The lyrics echo Giorgia’s own philosophy: “Touch my world with your fingertips, and we can love forever. Forever is our today.”
Throughout ‘Cinema II’, Giorgia approaches each song as both storyteller and interpreter. “Choosing the songs is a beautiful exercise,” she says. “I follow the feelings the music brings. These are not copies of the originals—they are new creations arranged with love and care.” Her voice moves seamlessly from the intimate to the majestic, offering listeners a soundscape of hope, light, and cinematic wonder.
A classically trained soprano born in Tuscany and now based in Québec’s Laurentians, Giorgia has graced some of the world’s most prestigious stages—from London’s Royal Albert Hall to New York’s Times Square and Beijing’s Olympic celebrations. With more than 1.5 million albums sold and 45 million streams worldwide, she continues to enchant global audiences with a sound that transcends genre and language.
As she looks ahead to international performances and new creative projects, Giorgia remains guided by her simple mission: to uplift and connect. “Music is my passion, my joy, my therapy,” she says. “It’s the bridge between my heart and the hearts of others. I hope this album reminds people that beauty and love are everywhere, in every moment.”
‘Cinema II’ will be available on all major streaming platforms on October 24, 2025, through Virgin Music / Universal Music. The single “Who Wants To Live Forever” is out now, accompanied by a cinematic music video.
“A Place in the Choir” is the second single from 3x Parent’s Choice Award Winner Chris McKhool’s upcoming family album entitled “Little Leaf”.
“’A Place in the Choir’ sings of belonging, where every creature – large or small, ordinary or strange – has a note to add to life’s great chorus” says Chris. “The variety of animal voices is a metaphor for the many shapes of human difference, and reminds us that what seems odd or uncommon is beautiful when joined with others.”
This song is a celebration of community: the magic that emerges when each distinct voice, instead of being hidden, is woven into a shared harmony. Chris continues: “In today’s fractured world, where everyone is living in their silos, diversity can seem like a challenge, but is actually the very source of strength and joy in society”.
“A Place in the Choir” features musicians from Chris’ friends in 3x JUNO nominated Sultans of String, with Chris Coole on banjo, gorgeous backing vocals from singer-to-the-stars Rebecca Campbell and a children’s chorus. The song is produced by Chris along with Kevin Laliberté and Grammy/JUNO Award winning John ‘Beetle’ Bailey, with the accompanying video shot by Micah Sky at De Mazenov Farm, tucked away in Ancaster Ontario.
CHRIS MCKHOOL BIO:
Chris is a Queen’s Diamond Jubilee Medal recipient for creating community through music. One of Canada’s hottest musicians for kids, he has been hailed as a “Children’s musical star” (National Post) and “Canada’s greatest eco-troubadour for young people” (Mississauga Living Arts Centre). Everything Chris does comes from the heart, and he has been delighting audiences with his joyful songs and exotic world instruments for three decades, reaching over 1 million children live in concert, with hit performances on YTV’s Treehouse, TVO’s Crawlspace, Mr. Dressup, CITY-TV and the CBC.
A champion of environmental issues, Chris created the World Largest Bicycle Bell Orchestra at Yonge-Dundas Square with over 800 bell ringers! He was nominated for a JUNO Award for Best Children’s Album, and won the Canadian Folk Music Award for Children’s Album of the Year! He’s also a multiple Parents’ Choice Award Winner and a Green Toronto Award Winner. Chris was just also inducted into the Burlington Performing Artist Centre Hall of Fame, and Burlington’s mayor awarded him the Key to the City.
The accompanying concert tour is part musical performance, part environmentalism and 100% fun! The show is fully interactive, as kids join the band on stage playing percussion instruments from around the globe, dance to the global grooves, and sing songs about taking care of our planet. For three decades, Chris has taken his audience beyond the 3 R’s of ecology (Reduce, Reuse, Recycle) to a new level of understanding of our global connection to forests, air, water and animals. Everyone leaves with the feeling that they can really make a difference!
CHRIS MCKHOOL TOUR: 2025
Nov 16 – 1:00 pm – Burlington Performing Arts Centre
Nov 18 – Richmond Hill Centre for the Performing Arts **
Nov 19 – Sanderson Centre in Brantford **
Dec 13 – 1:00 pm – Burlington Performing Arts Centre
Dec 21 – 2:00 pm – McMichael Gallery, Kleinburg
2026
Jan 26 – Flato Markham Theatre **
Jan 27 – Flato Markham Theatre **
Jan 28 – Flato Markham Theatre **
Jan 29 – Oakville Centre for the Performing Arts **
Mar 6 – 6:00 pm – Kingston Road United Church, Toronto
