Music Day in Canada, an annual nationwide celebration dedicated to live music, community connection, and artist development, is pleased to announce its 2nd edition taking place on Saturday, September 27, 2025. This one-night event will activate venues across 11 cities, promoting local talent and creating a powerful, united moment for Canadian music fans coast to coast.
The event is powered by an incredible network of partners, including One Dream At A Time, Lemmon Stage, Stingray, Symphonic, Long & McQuade, Showpass, and The Trenches. Together, they are helping to spotlight artists, strengthen Canada’s live music scene, and ensure that communities from coast to coast have access to vibrant, high-quality music experiences.
“At its core, Music Day in Canada is about connection,” said Michael Scriven, Co-Founder of The Lemmon Foundation. “It’s a chance to share stories, celebrate creativity, and showcase the incredible talent that defines Canadian music, while giving artists across the country the opportunity to shine.”
2025 Participating Cities & Venues:
Antigonish – Candid Brewing
Barrie – The Rec Room Park Place
Calgary – Venue TBA
Edmonton – Blakbar Tavern
Mississauga – The Rec Room Square One
New Glasgow – Wranglers Lounge
Oshawa – The Biltmore Theatre
Saskatoon – Amigos Cantina
St. John’s – The Ship Pub
Vancouver – Hollywood Theatre
Winnipeg – The Royal Albert (BreakOut West Showcase)
Fans can expect an unforgettable experience filled with performances that showcase the resilience and creativity of Canada’s music community. Proceeds from the event support The Lemmon Foundation’s ongoing mission to build sustainable careers for artists and nurture a connected live music scene across the country.
For full lineups, city-specific details, and ticket links, visit musicdayincanada.ca.
Behind every unforgettable chorus, there’s usually someone unforgettable too. Sometimes it’s an ex. Sometimes it’s a civil rights icon. Sometimes it’s a hitchhiker from Miami. Real people have been shaping our favorite songs for decades—standing behind the curtain while the spotlight shines on the music they inspired. Here are 20 tracks that owe their heart, soul, and spark to someone who lived, breathed, and maybe broke a heart or two.
“All of Me” – John Legend Chrissy Teigen gets serenaded in one of the greatest modern love songs ever written. Bonus points for “smart mouth” being the opening line—marriage goals, melody edition.
“Andy Warhol” – David Bowie David Bowie strummed this acoustic ode to the pop-art king himself. Legend has it Warhol hated it—but art inspiring art is still a masterpiece, even if the muse grimaces.
“Biko” – Peter Gabriel South African activist Steve Biko’s legacy roars through this haunting anthem. Gabriel’s voice becomes a battle cry for resistance, proving that melody can march just as hard as any protest.
“Dear John” – Taylor Swift A song about heartbreak so laser-precise that John Mayer had to publicly defend himself. “Dear John” is a musical open letter that reads like a diary entry, written in eyeliner and blood-red ink.
“Don’t Speak” – No Doubt When Gwen Stefani broke up with her bandmate Tony Kanal, she didn’t just cry into a pillow—she wrote a power ballad that shattered radios and chart records alike. Breakup therapy, set to ska-tinged sadness.
“Don’t Stop Believin’” – Journey Keyboardist Jonathan Cain’s dad gave him advice that became a global mantra. Somewhere, a suburban dad is still yelling it at a Little League game—and it still rocks.
“Elvis Is Everywhere” – Mojo Nixon A rockabilly fever dream where Elvis pumps gas, flips burgers, and haunts every jukebox. One rule: everyone has Elvis in them—except for the Anti-Elvis.
“Hurricane” – Bob Dylan Rubin “Hurricane” Carter was a boxer with fists of fury—and a story that gripped a nation. Dylan turned his wrongful conviction into a roaring anthem for justice and rattled the walls of complacency along the way.
“In Your Eyes” – Peter Gabriel Rosanna Arquette inspired this slow-burn love song that ended up under a boombox in Say Anything…. Proof that a great muse can also greenlight your film sync.
“James K. Polk” – They Might Be Giants History class just got a power-pop upgrade. TMBG celebrates America’s 11th president with an accordion and more enthusiasm than any textbook ever dared.
“Man on the Moon” – R.E.M. Andy Kaufman danced the line between genius and absurdity. R.E.M. turns that magic into a moonlit melody that’s part tribute, part puzzle, and all heart.
“Me & Mr. Jones” – Amy Winehouse Amy doesn’t name names, but Nas fans caught the clues. Equal parts sass and sultry, it’s the only love song that ever got mad about missing a gig.
“Pride (In the Name of Love)” – U2 Martin Luther King Jr.’s legacy gets immortalized in Bono’s voice, echoing with reverence and fire. One man. One dream. One unforgettable middle-eight.
“Shine On You Crazy Diamond” – Pink Floyd Syd Barrett, the ghost in the studio, gets a eulogy soaked in synths and sorrow. It’s the kind of song that floats through time, whispering “remember when?”
“The Ballad of Ira Hayes” – Johnny Cash A Marine, a flag, and a story America needed to hear. Cash gave Ira Hayes his due—through the lens of justice, compassion, and a deep, resonant baritone.
“The Living Bubba” – Drive-By Truckers Gregory Dean Smalley faced death with a guitar in his hands. This song isn’t just a tribute—it’s a love letter to defiance, to late nights, and to one man’s refusal to stop playing.
“Uptown Girl” – Billy Joel Elle Macpherson may have started the melody, but Christie Brinkley gets the final verse. Billy Joel turned doo-wop dreams into a model love triangle for the ages.
“Walk on the Wild Side” – Lou Reed A glam-glazed road trip through Andy Warhol’s inner circle. From Holly to Candy to Joe, Lou Reed’s gallery of downtown dreamers became rock ‘n’ roll legends just by being themselves.
“You Oughta Know” – Alanis Morissette Alanis didn’t name names, but Dave Coulier felt the sting. Jagged Little Pill turned alt-rock into an emotional exorcism—and gave us the most cathartic karaoke line of all time.
“You’re So Vain” – Carly Simon Warren Beatty earns his lyrical roast in this iconic mystery track. The best part? He’s only one verse. The rest? A deliciously veiled hall of fame for Hollywood egos.
In a world where graphs grow and playlists shuffle endlessly, it’s easy to feel like your worth as a musician lives in the numbers. But here’s a little reminder: music is magic, not math. Whether you’re spinning vinyl in your room or strumming on stage, your sound already matters. Here are 5 ways to separate self-worth from stream stats—because you, dear artist, are already golden.
1. Celebrate the Creation, Not the Clicks The moment a song is born—from humming to harmony—is already a win. That spark of expression is priceless and doesn’t wait for algorithms to approve. A melody that made you dance in your kitchen is already a hit in your heart.
2. Let Art Be the Audience When your guitar listens, when your journal listens, when the sky listens—that’s enough. A song whispered to the wind counts just as much as one blasted to millions. Every note holds value the moment it’s sung.
3. Redefine “Success” as “Satisfaction” Instead of charting numbers, chart your joy. Did the song say what you needed it to say? Did it help you sleep better, cry better, or laugh out loud? Success lives in that moment of release and relief.
4. Build Your Creative Garden Think of each song like planting a wildflower—some may grow tall and visible, others might bloom quietly. Your job is to plant, water, and play. The garden isn’t for counting—it’s for growing.
5. Make Music a Mirror, Not a Measure Your songs reflect who you are, not how you rank. They catch your feelings, your hopes, your experiments. They’re your mirror—not a measuring stick. And that reflection? Always radiant.
So go ahead—tune your guitar, spill your soul, and press record. Let your music breathe without expectations. The streams may flow or trickle, but your value? It’s already singing. Keep making sound just because it feels good. That’s the most beautiful metric of all.
“Super Trouper,” released in November 1980, became ABBA’s ninth and final UK #1 single, selling over 700,000 copies there. Sung by Anni-Frid Lyngstad, it was the last track written for the album. Its title comes from the Super Trouper followspot used in concerts.
The world has lost a true visionary. Giorgio Armani, who passed away on September 4, 2025, at the age of 91, forever changed the way we think about elegance. From red carpets to Olympic ceremonies, Armani’s influence stretched far beyond fashion runways. To celebrate his extraordinary life, here are 25 amazing facts about the man who built an empire of style.
Giorgio Armani was born in Piacenza, Italy, on July 11, 1934.
He grew up with his older brother Sergio and younger sister Rosanna.
Armani originally studied medicine at the University of Milan.
He left school after three years and joined the army, working at a military hospital in Verona.
After his service, he became a window dresser and sales clerk at La Rinascente department store in Milan.
At La Rinascente, he introduced customers to Marimekko, the Finnish design house.
He gained fame designing menswear at Nino Cerruti’s company in the 1960s.
In 1973, with encouragement from Sergio Galeotti, he opened his own design office in Milan.
Two years later, in 1975, Armani founded his own company, Giorgio Armani S.p.A.
His debut ready-to-wear collection featured both men’s and women’s lines.
Armani’s partnership with Gruppo Finanzario Tessile in 1978 helped luxury ready-to-wear take off.
His Hollywood breakthrough came with Richard Gere wearing Armani in American Gigolo (1980).
Armani went on to design costumes for over 100 films, including The Untouchables (1987).
In 1981, he launched Emporio Armani, followed by Armani Jeans and Armani Junior.
Armani is credited with pioneering red-carpet fashion.
He banned underweight models after the tragic death of Ana Carolina Reston.
Armani was the first designer to broadcast a haute couture show live online in 2007.
He designed for pop superstar Lady Gaga, including her Monster Ball and Born This Way tours.
He also designed outfits for high-profile awards shows like the Grammys and MTV VMAs.
Armani collaborated with Eric Clapton, who wrote songs for his fashion shows and wore Armani suits.
He opened Armani Hotels in partnership with Emaar, including inside Dubai’s Burj Khalifa.
Armani’s empire extended to restaurants, home furnishings, music, and luxury resorts.
A devoted sports fan, Armani owned basketball team Olimpia Milano and designed Olympic uniforms for Italy.
He also partnered with Ferrari to provide official team wear in Formula 1.
At the time of his death, Armani’s empire was valued at more than €8.6 billion, and he was recognized as the richest LGBTQ person in the world.
Giorgio Armani’s legacy is woven into the fabric of culture itself. From sleek tailoring to sustainable fashion, from cinema to sports, his touch was everywhere. His vision of elegance—quiet, powerful, and timeless—remains a guiding light for designers and dreamers. As we remember Armani, we celebrate a life lived in pursuit of beauty, detail, and grace.
There’s a fire burning in the garden of Eden, and HuDost are inviting us to dance through the flames. With the release of their newest album ‘The Monkey in the Crown’, out now on Open Sesame Music, the genre-defying duo from Montreal-by-way-of-Kentucky delivers a bold, cinematic collection that fuses Americana, world rock, and retro-pop with a poet’s soul and a protester’s heart.
If you’ve ever wondered what it would sound like if Florence Welch, Rumi, and Radiohead took a road trip through Appalachia—you’re getting warm.
“This album is a reckoning,” shares Moksha Sommer, whose haunting vocals are matched only by the electric intimacy she conjures on stage and in studio. “It’s about transformation — how we live with grief, how we rise in love, how we face the fire and still choose to sing.”
For HuDost—Moksha Sommer and Jemal Wade Hines—*The Monkey in the Crown* is a culmination of decades of activism, artistry, and collaboration. From Bonnaroo to the Levitt Pavilions, they’ve played it all, weaving together harmonium, electric guitars, Balkan folk textures, and a commitment to music as medicine.
The new album features standout singles like “Broken Down in America,” a searing cry for peace in a culture consumed by violence. From its gripping opening—“Hey my son, it’s Monday morning / Use your teacher like a human shield”—to the soul-stretching chorus, “The only arms I bear are here and open,” the track strikes with visceral clarity. Co-written with Dan Haseltine (Jars of Clay/The Chosen), it pulls no punches.
Another highlight is “Acting Out the Outrage,” a poetic gut-punch that calls out performative fury and invites listeners into real emotional reckoning. “Starve the fear I’m feeding / Leave the mob they’re leading,” Moksha pleads, as the song swells from a soulful whisper to a rallying cry.
“We want people to feel everything,” says Jemal Wade Hines. “The beauty, the hurt, the hope, the fury—this record is for those who know change doesn’t come easy, but it still comes.”
Critics have taken note. Rolling Stone’s Kristi Wooten described HuDost as “making music for the sacred and the profane,” and with ‘The Monkey in the Crown’, the duo fully steps into that paradox. Lush string arrangements by SistaStrings (Brandi Carlile) & Matthew Nelson (The Chosen), pounding drums, and choirs of guest vocalists—including Rachael Davis—give the record a sense of spiritual urgency.
From healing after brain surgery to advocating for global aid on Capitol Hill, Moksha and Jemal have turned every challenge into a song. This new record is no different. It’s intimate yet epic, political yet personal. And it’s out now.
HuDost 2025 Tour Dates – More To Be Announced:
Sept. 13 – Black Oak Artists Day Party @ AmericanaFest – Madison, TN
Oct. 2 – WDVX Blue Plate Special – Knoxville, TN
Oct. 2 – AyurPrana Listening Room – Asheville, NC
Oct. 4 – Ol’ Front Porch Music Festival – Oriental, NC
Eagle Owl, the rising Canadian voice fusing alt-pop, alt-R&B, and hip-hop, announces the release of his powerful new single “Way Out.” The track embodies raw emotion and cinematic darkness, pushing the boundaries of genre while staying rooted in the culture’s spirit of truth-telling and resilience. Blending melodic hooks with hard-hitting bars, Eagle Owl captures what he describes as his own self-portrait: ‘For me, “Way Out” is like a self-portrait. It represents my inner battles, our struggles in life wanting a way out especially in this day and age.’
Eagle Owl’s story has always been about standing apart. Based out of Winnipeg and pulling inspiration from early Billie Eilish, BANKS, G-Eazy, 6LACK, and Bad Omens, his sound is steeped in both vulnerability and power. Growing up in the church, his lyrics often move through themes of faith, struggle, and survival. ‘My work speaks to the misunderstood, the seekers, the outlier fans and even to the outsiders,’ he explains.
“Way Out” was born on a day Eagle Owl felt mentally trapped. ‘I needed to create something that felt like an escape hatch for my own thoughts basically wanting a way out,’ he recalls. That raw emotion spilled directly into lyrics like: ‘Never had a way out, on my way out, try to shut it out, that it’ll never will work out, never found a way out, never had a handout, you never understand who I really am’. The track stands as both testimony and therapy, speaking to anyone chasing freedom from toxic cycles, expectations, or inner walls.
Production-wise, “Way Out” is crafted with meticulous intent. Eagle Owl drew sonic inspiration from alt-pop/R&B giants like The Weeknd and memyself&vi, shaping a record that feels vulnerable and menacing at once. Wanting to elevate the track’s dynamic, he enlisted Jaydi for a collaborative performance: ‘I have been wanting a song to collaborate with a female artist for years, this song just felt natural for that, where it’s almost like a two-person dynamic by the end of it and Jaydi fitted perfectly,’ Eagle Owl explains.
The mix was handled by local producer Cailen Penner, chosen deliberately to keep the energy rooted in Winnipeg’s creative community. ‘It did take a few tries to get the perfect mix but Cailen did perfect for mixing both my and Jaydi’s vocals,’ Eagle Owl shares. For mastering, he linked with industry veteran Travis Ference, who has worked with Imagine Dragons, Taylor Swift, and Big Time Rush. ‘He loved it before even he started working on it… he sent myself the first master and I was blown away that I’m like this can actually be a radio hit!’
The single is about survival. ‘The core emotion behind “Way Out” is the feeling of wanting to break free, whether it’s from toxic cycles, expectations, or your own inner walls,’ Eagle Owl emphasizes. Lyrics like ‘I’m from the north, you’re from the south, I’m trying everything, I wish it was something,’ ground the track in lived reality and cultural duality, reflecting both place and perspective.
“Way Out” also sets the tone for Eagle Owl’s upcoming EP, which he describes as darker, more personal, and representative of his journey over the past few years. By blending his alt influences with hip-hop’s confessional roots, Eagle Owl positions himself as an artist who speaks directly to the misunderstood, the seekers, and the outsiders—a voice from Winnipeg echoing far beyond its borders.
With ‘Way Out,’ Eagle Owl is delivering more than a single. He’s opening a chapter that balances melody and menace, faith and fire, artistry and authenticity. As he puts it: ‘When people hear “Way Out,” I hope they feel like they can get out of their way—out of that funk, that relationship, or whatever the case might be. Just hope you get a way out.’
Born in Whitehorse and now rooted on Vancouver Island, Brandon Isaak has carved out a reputation as one of Canada’s most authentic voices in the blues. His latest project, ‘Walkin’ With The Blues’, has spent three weeks on the Roots Music Report’s Canadian Chart—including a turn at #1—proving that Isaak’s deep respect for tradition resonates with audiences across the country.
Isaak, a seasoned musician with nearly four decades of experience and two decades steeped in the blues, has long been admired for his gravelly voice, wailing guitar solos, and storytelling chops. With a career that has taken him across three continents, he has built a sound rooted in the masters—T-Bone Walker, Ronnie Earl, Anson Funderburg, Fenton Robinson—while remaining distinctly his own. His electric blues brings both urgency and reverence, honoring the canon while speaking to today.
The making of ‘Walkin’ With The Blues’ was as raw and heartfelt as the music itself. Recorded on Vancouver Island with ribbon microphones, vintage gear, and Isaak at the helm as producer and engineer, the album thrives on immediacy. ‘We crafted this album in a single room, with ribbon mics, cold beer, and all the heart we could muster,’ Isaak shares. ‘Every note played was real, unfiltered, honest.’ That spirit fuels the record’s shuffles, ballads, and grooves.
Backed by The Saints of Swing—Joey Smith on upright bass, Darryl Havers on piano, Mike Kalanj on organ, Chris Norquist on drums, Leo Valvassori on bass, Jerry Cook on saxophones, and Alfons Fear on trumpet—the album captures the energy of seasoned players at their peak. Together, they create a sound that is lush, lived-in, and endlessly alive, echoing decades of blues lineage.
The new single, “Little Did He Know,” out now, continues Isaak’s trademark blend of humour and heart. ‘I always love blues artists with a sense of humour and a funny lyric,’ Isaak says. ‘This song was written after decades of research into life and women. I have written everything I know about woman in this one comprehensive study, in a song called Little Did He Know.’ Both playful and wise, the track embodies Isaak’s approach to storytelling: deeply rooted in tradition, yet always personal.
Isaak reflects on the process: ‘What a rewarding and magical experience it was to write and record this new album. Time seemed to slip away as I immersed myself in the music. I set out to create an old-school blues record, the kind that filled the airwaves of my childhood.’ That dedication shows, with ‘Walkin’ With The Blues’ already hailed as his most straight-up blues record to date.
With the new album, Isaak enters a new chapter one defined not by reinvention, but by refinement. His music doesn’t aim to modernize the blues so much as to reassert its timeless appeal. Every chorus, riff, and lyric speaks to why this music endures: it is human, it is honest, it is alive.
To celebrate the release, Isaak will embark on an extensive tour across Western Canada, bringing his new album to life with performances full of storytelling, humour, and heart.
Tour stops include:
• Sept 4 – Blues Barn – Leduc, Alberta
• Sept 5 – Large House Concert – Red Deer, Alberta
• Sept 6 – Badlands Amphitheatre – Drumheller, Alberta
• Sept 11 – Mackie House Concert – Coldstream, BC
• Sept 13 – Vibrant Wine Vineyard – Kelowna, BC
• Sept 20 – Osborne Bay – Crofton, BC
• Oct 7 – Oak Bay Recreation Centre – Victoria, BC
• Oct 18 – Cobblestone Music Venue – Cobblestone, BC
• Oct 31 – Marsh Lake – Yukon
• Nov 1 – Old Firehall – Whitehorse, Yukon
• Nov 21 – Hermann’s Jazz Club – Victoria, BC
Blues audiences know Isaak not just as a musician, but as a storyteller, teacher, and keeper of the flame. He’s dedicated to sharing the lessons of life and music with younger players, passing down the wisdom of his heroes while carving out his own distinct place in the tradition.
Ever wish your life came with leather seats, cruise control, and a killer soundtrack? Look no further. Canadian singer-songwriter Francine Honey’s single *’Cadillac’* is a joyful, high-octane ode to blazing your own trail with horsepower and heart. With lap steel licks and a hook you’ll be humming for days, ‘Cadillac’ is the feel-good anthem for anyone who’s ever wanted to floor it — in heels.
Francine Honey is a little bit country, a little bit folk, a little bit blues — and all heart. An internationally acclaimed, bilingual artist, producer, and multi-instrumentalist, Francine has racked up accolades including 2023 Songwriter of the Year from the Austin Songwriting Group and multiple international songwriting wins. Her seventh album, ‘Rockets In My Boots’, is just around the bend, and ‘Cadillac’ is one of the shiniest gems in the garage.
“I grew up in the pits — literally,” Francine laughs. “My dad raced snowmobiles and cars, and we owned a stock car racetrack. There were more weekends at the track than the mall, that’s for sure.” The song’s inspiration started with a riff on her Ben Harper Asher lap steel and a songwriting group prompt. “I heard the word ‘Cadillac’ and boom — I was off to the races.”
Honey isn’t just waxing nostalgic. ‘Cadillac’ blends memories of her dad’s classic Eldorado with her own drive to carve a path in male-dominated spaces — from IT to country music. “I can do anything,” she sings. “Burning down the track in my Cadillac.” It’s playful, empowering, and radiates pure joy.
“This song is for anyone embracing their own curves and swerves,” says Francine. “You can be a classy car chick, break the mold, and still chase what you deserve.” The result? A bluesy rockin’ anthem featuring the legendary Fats Kaplin and produced by Grammy-nominated Neilson Hubbard — best enjoyed with the top down and volume up.
The song’s bridge comes straight from her dad’s advice: *“Life’s like that car / It’s gonna fly by girl / So hit the gas / Then enjoy the ride.”* That advice — and those Sunday drives — fuel the soul of this song.
While the track revs with sass, underneath the hood it’s classic Francine: honest, hopeful, and grounded in lived experience. “It’s a reminder to take the wheel in your own life.”
*’Cadillac’* is out now on all streaming platforms. It’s already a finalist in the ASGI Rock category — not bad for a song born in the fast lane and raised on grit, grace, and gasoline.
Whether you’re chasing dreams, healing heartbreak, or just running errands with the windows down, Francine Honey’s ‘Cadillac’ is your new musical co-pilot.
Ash Ravens doesn’t just play the blues—he lives them, bends them, and invites you to go along for the ride. With the release of his latest album, Joyride Blues, the two-time Capital Music Award nominee proves that sometimes you have to lose the map to find the groove. Drawing from life in Bangladesh, Los Angeles, Melbourne, and now Ottawa, Ash weaves global threads into a record that’s as gritty as it is heartfelt, as classic as it is brand new.
Born in Bangladesh and raised on the sounds of bluesmen and jazz legends, Ash Ravens took the long road to Canada—through music cities like Melbourne and L.A.—and brought every influence with him.
His sound fuses the soul of blues with rock swagger, country honesty, and jazz complexity. He’s as likely to tear through a Joe Bonamassa-style riff as he is to whisper a nylon-string lament under the stars. “I’ve always believed the blues could hold everything I’ve seen,” Ash says. “And on this album, I gave it all.”
A two-time City of Ottawa arts grant recipient and a regular on the Canadian scene, Ash is known for his heartfelt lyrics, technical precision, and fearless blending of genre. “Blues is the root, but everything else is the fruit,” he smiles, name-checking heroes like Robben Ford, Matt Schofield, and John Scofield. “They taught me you don’t have to pick one path. You can carve your own.”
Joyride Blues shows off just how many paths he’s carved. There’s the full-throttle joy of the title track, where he sings, “I don’t care baby / I’m only here for the joyride,” over a groove you can feel in your bones.
There’s the traditional shuffle-blues of “My Ship Has Sailed,” with Ash confessing, “This old ship was my last chance of salvation / now devils got my name and he’ll lead me to temptation.”
And then there’s “Love Fades Away,” a midnight ballad that cuts deep: “Once burned so bright, now it’s just grown old… Through our tears we realise, love fades away.”
“Joyride Blues is about chasing something,” Ash shares. “Sometimes it’s love, sometimes it’s meaning, sometimes it’s just a feeling. But even when things fall apart, you can still sing your way through.” Nowhere is that clearer than in “This Soul Ain’t for Sale,” where Ravens growls, “There ain’t no devil who can hold me, no chains ‘round my feet / This soul ain’t for sale, I will always be free.”
Recorded across several cities but always anchored in the blues, the album’s final track, “Somewhere South,” has its own story. Ash explains: “I was stuck. I grabbed a nylon-string guitar, went outside on this quiet southern porch, hit record, and played into the warm night. What you hear is the first take—cicadas and all.” It’s a soft landing for a high-octane record, like the last cigarette after a long road trip.
And not all inspiration came from the South. One instrumental, “Skating on the Rideau,” was sparked by a literal glide down Ottawa’s frozen canal. “It was one of those nights where everything feels alive and dangerous,” Ash laughs. “When I got home, the riff just poured out. It’s blues, but it’s got that winter magic baked in.”
Ash is currently booking shows for fall and winter 2025 and plans to bring the album across Canada and beyond. “These songs were meant to be played loud, with real people in the room,” he says. “Joyride Blues is the kind of album that finds you wherever you are—and then takes you somewhere else.”
Blending back porch warmth, downtown grit, and a global spirit, Ash Ravens has made an album that’s both a personal journey and a universal groove. So, grab your boots, your headphones, or your skates—and buckle up for the ride.
