Orlando Bloom talks about being taught how to do cold plunges by surfer Laird Hamilton, skydiving out of a helicopter for his show Orlando Bloom: To the Edge and being inspired by Oasis’ Liam Gallagher for his film Deep Cover.
Noa Argamani Speaks: A Survivor’s Testimony From the Heart of the Nova Tragedy
This Sunday, June 15, next in our series of From Captivity to Freedom events, join us at the Nova Exhibition Toronto for a rare and deeply personal evening with Noa Argamani — returned hostage, a survivor of the October 7 Nova Music Festival massacre, and one of the most recognized hostages rescued from Hamas captivity.
Held in captivity for 245 days, torn from her spouse Avinatan by Hamas terrorists — Noa now speaks, not just for herself, but for those still in captivity of Hamas in Gaza.
Her courage has moved the world. Her voice has echoed in Congress, the United Nations, and the 2025 TIME Most Influential People list. This night is not about politics, it’s about presence, bearing witness, resilience and hope, while remembering the moment joy turned into horror.
Until Avinatan comes home, a part of her remains captive.
Come hear her story. Come stand with Noa.
This event will be in the Healing Room of the Nova Music Festival Exhibition and is open to general exhibition ticket holders. Space is limited. Book your tickets for available time slots before the testimony time.
10 of the Greatest Guitar Riffs of the Classic Rock Era
Some guitar riffs are not just introductions—they are declarations. They say, “This is rock and roll, and you are going to feel it.” These riffs are bold, unforgettable, and full of life. They have powered air guitars, car radios, and stadium speakers for generations. Here are ten of the greatest riffs from the classic rock era that still make hearts race and heads bang.
Deep Purple – “Smoke on the Water”
This riff is often the first thing any new guitarist learns. Ritchie Blackmore crafted a simple, smoky masterpiece that echoes forever. It tells a true story and has become a rite of passage for rock fans and players alike.
Led Zeppelin – “Whole Lotta Love”
When Jimmy Page kicks into this riff, it feels like the earth might tilt just a little. It is full of swagger, fire, and fuzzy goodness. This is the sound of classic rock putting its foot down with authority
The Rolling Stones – “(I Can’t Get No) Satisfaction”
Keith Richards dreamt it, and we all woke up to a new world of rock. That fuzzy, buzzy tone cuts through everything. It is gritty, catchy, and endlessly cool—everything a riff should be.
AC/DC – “Back in Black”
Few riffs carry as much power in so few notes. Angus Young made every chord feel like a statement of purpose. This is a riff that struts, stomps, and swings like it owns the place.
Black Sabbath – “Iron Man”
This riff feels like it was carved from stone. Tony Iommi gave it a lumbering, ominous quality that sounds like a giant waking up. It is heavy, unforgettable, and pure metal history.
Aerosmith – “Walk This Way”
Joe Perry delivered a riff with both groove and grit. It walks, it talks, it dances through every speaker with style. It is impossible not to move when this riff kicks in.
The Kinks – “You Really Got Me”
Dave Davies literally tore his amp to create this wild and fuzzy sound. The riff helped kick off the British Invasion and garage rock all in one go. It is raw, rebellious, and ridiculously fun.
Lynyrd Skynyrd – “Sweet Home Alabama”
This riff is sunshine in guitar form. It is bright, instantly recognizable, and filled with Southern charm. Every time it plays, it feels like summer and good memories rolled into one.
Queen – “Tie Your Mother Down”
Brian May knew how to write riffs that roared with elegance. This one punches in with force and never lets up. It is energetic, catchy, and ready for a full-throttle singalong.
The Who – “Baba O’Riley”
Although the synth intro is legendary, it is Pete Townshend’s riff that lifts the whole thing into orbit. This is a power chord anthem built to last. It soars, it rolls, and it demands your attention.
These riffs do not just start songs—they start revolutions. They are loud, proud, and timeless. Long live the riff, and long live rock and roll.
5 Surprising Facts About Snoop Doggy Dogg’s ‘Doggystyle’
Before the platinum plaques, before Martha Stewart and business ventures, there was Doggystyle — the raw, unfiltered debut that turned Calvin Broadus into a household name. Released on November 23, 1993, this record came in like a lowrider on hydraulics, bouncing over every boundary that rap had known up to that point. Snoop Doggy Dogg brought melody, menace, humor, and a whole new cadence to the mic. With Dr. Dre behind the boards and the Dogg Pound in the trenches, Doggystyle shaped the sound of West Coast hip hop for the decade that followed.
You know the classics. You know the singles. But these five facts go even deeper than the gin, the juice, and the G-funk grooves.
1. “Gz Up, Hoes Down” Was Pulled Over a Sample That Came With No Clearance
Early pressings of Doggystyle featured a smooth, hypnotic track called “Gz Up, Hoes Down.” The vibe matched the rest of the record perfectly — until it disappeared without warning. The problem? A sample couldn’t be cleared, and the label decided the licensing fees weren’t worth it. Copies with the track became collector’s items, and the song eventually reappeared years later on 15 Years on Death Row. Its short-lived run only added to the album’s mythology, turning a B-side into a secret handshake for diehard fans.
2. The Album Was Mixed and Skitted in a 48-Hour Studio Sprint
Demand for Doggystyle was reaching a boil. Distributors needed the master, or they’d pull the album from their shelves. So Dr. Dre locked himself in the studio and, in just 48 hours, mixed the record and added all the skits that tie the project together. It was one of the fastest finishing jobs in hip-hop history. The result? An album that still sounds cinematic, cohesive, and deeply immersive — like a day in the life of Long Beach, told through smoke, synths, and street tales.
3. Suge Knight Claimed Daz Dillinger Produced Most of the Album. Snoop and Dre disagree.
Years after its release, Death Row co-founder Suge Knight claimed that Daz Dillinger — not Dr. Dre — produced the majority of Doggystyle. According to Knight, Daz handed over production credits for a fee. Others involved say Daz and Warren G contributed heavily to the beats, while Dre transformed those raw sketches into fully realized tracks. Snoop later said, “They made beats. Dre produced that record.” Whatever the split, the chemistry between all of them gave Doggystyle its signature sound.
4. “Ain’t No Fun” Became a Blueprint for Hook-Driven West Coast Anthems
Built on a beat brought in by Daz and Warren G, “Ain’t No Fun (If the Homies Can’t Have None)” featured some of the most memorable hooks of the era. Nate Dogg’s silky intro, Kurupt’s brash verses, and Snoop’s effortless swagger turned it into a party classic and a lyrical blueprint. Beyond the surface, it introduced a formula — melodic choruses layered over rich G-funk production — that would shape West Coast hip hop from DJ Quik to Tha Eastsidaz. And Mariah Carey even sampled it years later on her Rainbow remix of “Heartbreaker.”
5. The Cover Art Was Created by Joe Cool, Snoop’s Cousin, Who Passed in 2024
The cartoon-style artwork for Doggystyle was created by Darryl “Joe Cool” Daniel — Snoop’s cousin and a visionary artist in his own right. The imagery matched the tone of the album perfectly: playful, raunchy, surreal, and unapologetically West Coast. It referenced Atomic Dog by George Clinton and used hand-drawn lettering, graffiti-style tags, and street-level storytelling. In 2024, Joe Cool passed away, leaving behind a legacy that stretched far beyond one album cover. His work defined the visual language of the G-funk era.
This album walked in with a curl, a lean, and a 40-ounce, and took it. Doggystyle isn’t only a classic. It’s a statement of style, presence, and cultural dominance that reshaped hip hop from the moment it dropped. Every beat rides, every verse flows, and every line echoes through the decades.
Welcome to the Dogg House. You’re already late.
5 Surprising Facts About Janet Jackson’s ‘Rhythm Nation 1814’
In 1989, Janet Jackson stood at the height of her power — and chose a path paved not only with hooks and heat, but with hope. Rhythm Nation 1814 arrived like a declaration: militant style, industrial sounds, socially conscious lyrics, and choreography sharp enough to cut through apathy. With Jimmy Jam and Terry Lewis at her side, Janet created a concept album that danced with purpose and spoke to an entire generation.
1. The “1814” in the Title? That’s a Triple-Barreled Symbol
Most fans know “1814” marks the year The Star-Spangled Banner was written, aligning with Janet’s vision of a new kind of patriotic anthem. But dig deeper: “R” and “N” — the initials for “Rhythm Nation” — are the 18th and 14th letters of the alphabet. That alignment was a happy accident, according to Jackson, but it’s too poetic to ignore. And get this: Janet once described her crew of working-class friends as their own little nation — roller rink guards, waitresses, bike messengers — all bound together by music. Rhythm Nation 1814 became a soundtrack for those communities, too.
2. “Black Cat” Was Written Solely by Janet
Janet built “Black Cat” from the ground up. No Jam. No Lewis. This hard rock scorcher was all Jackson. She produced it with Jellybean Johnson and brought in guitarists Dave Barry and Vernon Reid to give it that nuclear jolt. The amps? A blend of Rockman and Marshall for that heavy-metal sizzle. “Black Cat” became her third Hot 100 #1 and snagged a Grammy nom for Best Female Rock Vocal — a category few expected her to touch, let alone dominate. It was proof that Janet owned crossing genres.
3. The Chair Dance in “Miss You Much” Sparked a Choreography Movement
The moment those chairs hit the floor in the “Miss You Much” video, pop choreography entered a new era. Co-created with Anthony Thomas and Terry Bixler, the routine became a blueprint for future icons. The precision, balance, and swagger of that dance inspired countless artists — from Britney Spears to Usher — to incorporate chair routines in their videos and tours. It opened the Rhythm Nation 1814 visual project and instantly claimed space as one of the most iconic performances in music video history.
4. “Alright” Was the Bridge Between Generations of Black Entertainment
This one’s deep cut meets deep roots. The video for “Alright” was an homage to Hollywood’s golden era — reimagined through a Black lens. Directed by Julien Temple, it featured Cab Calloway, Cyd Charisse, and the legendary Nicholas Brothers. It was bright, broadway, and brimming with joy. Jackson and rapper Heavy D made an extended remix that linked swing, soul, and hip hop in one funky handshake. The result? A joyful time machine — with Janet as the pilot — that honored the past while flipping it forward.
5. The Album Was Recorded in Total Isolation From the Label
A&M Records didn’t get a single listen during the making of Rhythm Nation 1814. That’s not a metaphor — they literally weren’t invited to Flyte Tyme Studios. Janet, Jam, and Lewis built the entire album in seven months of uninterrupted creativity. The isolation was intentional: no suits, no distractions, no compromises. Jam later said if they’d gone the “safer” route — leading with ballads, glam shots, or lighter themes — the album might’ve been big. But it wouldn’t have changed lives. That’s the difference when artists are allowed to protect the process.
Rhythm Nation 1814 didn’t follow trends — it carved new ones. With choreography that echoed through generations, lyrics that called for change, and beats that moved more than bodies, Janet Jackson built something permanent. This album formed a bridge between pop and protest, between style and substance. In every uniform, in every chant, in every beat, the nation still marches. Salute to the Rhythm Nation. Long may it reign.
Guitarist Matt Sellick Blends Flamenco and Symphony on New Album ‘Watching The Sky’
With the release of his ambitious new album Watching the Sky, Toronto flamenco guitarist and composer Matt Sellick is bringing a decade-long dream to life. Known for his evocative fingerstyle work and deep love of Spanish music, Sellick boldly bridges genres by orchestrating his solo guitar compositions for a full symphony orchestra — the Thunder Bay Symphony Orchestra, conducted by Evan Mitchell — while retaining the soul of flamenco and the intimacy of his roots in Thunder Bay.
At the heart of Watching the Sky is a story of transformation: of place, of memory, and of music itself. Sellick, who studied flamenco extensively in Spain and began his career performing in Northwestern Ontario, has spent the last ten years developing these orchestral versions of his compositions. The result is a sonic landscape that is both sweeping and intimate, grounded in tradition but unafraid of innovation.
The album opens with “A Beautiful Day,” a lyrical celebration of renewal composed by Sellick and brought to life by his agile guitar work, the colorful depth of the TBSO, and the expressive percussion of longtime collaborator Marito Marques. The track feels like sunlight stretching over a horizon — a fitting start to an album that evokes nature and emotion in equal measure.
Though Sellick has previously released several solo albums, Watching the Sky is his first recorded project with a full orchestra — and his first time recording live, with all players in the same room. “It was the complete opposite of how I’ve done things until now, and I just loved it,” says Sellick. “Everything about it felt so real, natural, and genuine.” The sessions took place in his beloved hometown venue, the Thunder Bay Community Auditorium, a room Sellick calls “absolutely top-notch.”
The pieces themselves are inspired by real places — Lake Superior’s rugged shorelines, quiet trails in Toronto, sunlit alleys in Spain — each track functioning as a tone poem for a memory. As Sellick revisited the landscapes that first inspired his music, he found himself reshaping and reorchestrating melodies to reflect how both he and those places have changed. The result is a rare fusion of reflection and forward motion.
Produced by Keith Horner and engineered by Dennis Patterson, the album features masterful playing by TBSO members and guest percussionist Marques, who contributed djembe, udu, and hand percussion on several tracks. Feature solos by bassist Martin Blanchet and pianist Paul Rodermond enrich the textures, while additional percussion was arranged by Marques on tracks 8 and 11.
Sellick, a graduate of Lakehead University and an active performer with artists such as Jesse Cook, has performed in over 20 U.S. states and 8 European countries. Yet, *Watching the Sky* remains a deeply personal work — a love letter to Thunder Bay, a tribute to musical collaboration, and an expression of his ever-evolving artistic identity.
The album’s credits read like a who’s who of orchestral talent: 40+ musicians fill out the ensemble, including principal players in strings, woodwinds, brass, and percussion. The liner notes include special thanks to the Canada Council for the Arts and the Ontario Arts Council, whose support helped bring the recording and orchestration to life.
Though grounded in flamenco, Sellick’s music is not bound by it. There are moments of classical serenity, cinematic swells, and playful rhythmic interplay that speak to his broader influences — from Vicente Amigo to Debussy to the Canadian landscapes that shaped his imagination.
For listeners new to flamenco or orchestral music, Watching the Sky is a radiant entry point. For longtime fans, it’s Matt Sellick at his boldest and most vulnerable. Either way, it’s not to be missed.
Andy Toomey New EP ‘Masterpiece’ With Markus Reuter And Zach Alford Now On DSPs
After last year’s successful sessions with Stick Men produced Andy Toomey’s bold prog EP ‘Perseus Calling,’ the Jacksonville, Florida songwriter was excited to continue the trend. This time, drummer extraordinaire Zach Alford (Bowie/NIN, B52’s, Psychedelic Furs & many more) stepped into the recording with Stick Men touch guitarist Markus Reuter and a plan was laid.
Due to the somewhat last-minute nature of the sessions the decision was taken to do virtually no prep work and write in the studio. Toomey says “This is something I’ve always wanted to do, but also WAY outside my comfort zone. Professional music production costs being what they are, coming in cold is an even more risky venture than usual. Thankfully, Markus is a consummate improviser, and his encouragement gave me the confidence to go with it. I’m so very glad I did!”
The resulting EP, Masterpiece, is another tour de force, coming across as both fearless and timeless. The backing tracks were cut on a Saturday in August with uber engineer Scott Petito (Scott Petito Productions), who provided a rough mix for Toomey to come up with lyrics, which they then recorded the next day. Mixed by Bassist/producer Fabio Trentini and Markus, the new EP crackles with life, evoking Pink Floyd and Nine Inch Nails, with a heaping helping of Toomey’s usual inventiveness.
Of the title Toomey says “Being somewhat self-effacing, I wasn’t too comfortable calling my own record a masterpiece. That just happened to be the title of one of the tracks, which unsurprisingly is about a woman, and a rather evil one at that. Once again Markus came to the rescue, saying “This actually tracks as a masterpiece and deserves the name.”
African Women Acting Announces 2025 Niagara Festival: Free Pan-African Art, Music & Culture Celebration August 16-17
African Women Acting (AWA), the leading pan-African not-for-profit organization, is thrilled to announce the return of the AWA Niagara Festival on August 16th and 17th, 2025, at the scenic City Hall grounds in Niagara Falls, Ontario.
The 2025 AWA Niagara Festival is a vibrant, two-day celebration featuring dynamic performances, engaging workshops, artisan vendors, and cultural experiences highlighting talents from Africa, the diaspora, and beyond. The festival expects to welcome over 6,000 attendees—including families, youth, adults, and visitors from diverse backgrounds—making it one of the region’s most anticipated multicultural events.
Special guests will include government dignitaries, corporate sponsors, CEOs, business owners, leaders of women’s and Indigenous organizations, artist collectives, community activists, and media personnel, all gathering to foster cross-cultural collaboration and dialogue.
Festival Performance Schedule
Saturday, August 16
- 12:00pm – 12:30pm: African Dance Workshop (Candy Musiyoka & DJ Moussa) – Registration: $20 one day / $30 both days
- 1:30pm – 2:00pm: African Dance Performance
- 2:00pm – 3:55pm: DJ Moussa – Live DJ Set
- 4:00pm – 5:00pm: Dahlia Anderson – Reggae Music
- 5:15pm – 6:15pm: Infrared Music – Calypso Music
- 6:00pm – 7:00pm: Lady Son – Afrobeat & Cuban Music
- 8:00pm – 9:00pm: Amadou Kienou – West African Music
- 9:15pm – 10:00pm: DJ Moussa – Global Music & Festival Closing Set
Sunday, August 17
- 12:00pm – 12:30pm: African Dance Performance
- 1:30pm – 2:00pm: African Dance & DJ Moussa – Collaborative Performance
- 2:00pm – 3:55pm: DJ Moussa – Live DJ Set
- 4:00pm – 5:00pm: Brandon Agnew and the Night Shadows – Live Band
- 5:15pm – 6:15pm: Okay Camper – Live Band
- 6:40pm – 7:40pm: Sillasky – Live Performance
- 8:00pm – 9:00pm: Quincy Bullen – Live Performance
- 9:15pm – 10:00pm: DJ Moussa – Closing Set & Festival Wrap-Up
Festival Highlights
- Curated Craft Exhibition – Showcasing local artisans and unique creations.
- Global Cuisine – Food vendors offering a taste of Africa and the world.
- Community Booths – Local businesses, sponsors, and organizations.
- Inclusive & Welcoming – Open to all ages, nationalities, and backgrounds.
“This festival is not just a celebration—it’s a platform for empowerment, creativity, and unity,” said Sonia Aimy, Executive Director of AWA. “We are proud to bring together artists, communities, and leaders to spotlight the talents of Black women and their counterparts, and to build bridges across cultures.”
The AWA Niagara Festival is especially dedicated to people of African descent, the Black community, the African Diaspora, and all who share an interest in African arts, music, and culture.
AWA is a pan-African not-for-profit organization promoting women’s empowerment, mentoring, and the preservation and presentation of African culture through the arts. AWA’s programs support artists across all genders and foster mentorship, innovation, and cultural exchange.
Folk Singer Aynsley Saxe Unveils Soulful New Single “Stranger to Myself” Ahead of Summer Shows and Fall Album
Aynsley Saxe’s music carries the warmth of home and the weight of change. With the release of her acoustic folk single “Stranger to Myself” on June 6, the Georgetown, Ontario-based singer-songwriter invites listeners into a quiet, intimate world shaped by heartbreak, resilience, and emotional clarity. The track is the first release from her upcoming sophomore album A Thousand Stars, due out in fall 2025.
Co-produced with Christian Turner at Mill Town Sound in Milton, ON, “Stranger to Myself” features just acoustic guitar, bass, and Saxe’s voice, creating a stripped-down atmosphere that draws the listener in. “I wanted it to feel like I was playing this song in my living room,” Saxe explains. “The production is intentionally sparse because the lyrics needed space. I was working through disorientation and trying to understand the version of myself that was left standing after everything changed.”
Saxe, who began playing piano at age six, brings years of songwriting and performance experience to this release. She wrote her first song at 18 while living on a farm in New Zealand. Since then, she’s written music that spans environmental engagement, jazz-tinged fun, and deeply personal reflection. Her 2019 duet “Beautiful Tomorrow (A Song for Our Planet)” was recorded with 20 local youth and co-funded by the Town of Halton Hills. Her debut single “Stop, Drop & Roll (The Fireman Song)” gained attention through a province-wide Saskatchewan Firefighters Calendar commercial.
“Stranger to Myself” highlights a shift in tone for Saxe. Built on themes of isolation and emotional survival, the song unfolds like a diary entry. “I’m trying out this new life, baby / Like a new pair of jeans that don’t feel right just yet,” she sings. Another lyric—“barbed wire love”—has struck a chord with live audiences, many of whom approach her after performances to share how it resonated.
Listeners have described the song as “haunting,” “beautiful,” “truthful,” and “powerful.” One wrote, “It’s revealing and speaks of a story that many of us can relate to.” The feedback affirms Saxe’s choice to let the rawness stay in focus. “I’m handing the world pieces of my heart and soul,” she says. “It feels more personal than comfortable.”
Saxe’s upcoming album A Thousand Stars will continue this thread. Its songs explore emotional rebuilding, romantic longing, spiritual growth, and moments of reflection. With an English and Film degree from Western University, and creative past lives as a professional clown, Reiki Master, and ski instructor, Saxe approaches songwriting with a wide lens and a deep well of experience.
Her hometown roots run deep—she still lives in Georgetown and frequently performs throughout the Halton Hills region. She’s slated to appear at several local shows this summer, offering audiences a preview of her new material.
Upcoming Show Dates:
- June 14, 2025 – 3 PM – Terra Cotta Local Musicians Event
- July 3, 2025 – 4 PM to 7 PM – Acton Outdoor Market
- July 5, 2025 – 1 PM to 3 PM – Halton Hills Helson Gallery
- July 11, 2025 – 5 PM to 10 PM (exact time TBA) – Palooza, Main Street Festival, Georgetown, ON
- July 17, 2025 – 4 PM to 7 PM – Acton Outdoor Market
- August 11, 2025 – Acton Leathertown Festival (time TBA) – Acton, ON
- August 14, 2025 – 4 PM to 7 PM – Acton Outdoor Market
- September 11, 2025 – 4 PM to 7 PM – Acton Outdoor Market
Aynsley Saxe’s voice is often called healing, and her songs offer comfort and connection. With “Stranger to Myself,” she continues to give listeners space to feel seen and heard.
The Heavyweights Brass Band Announce New Album ‘Knockout’ And Deliver A “Splacka” Punch Of Funk And Soul
After 15 years of bringing the party wherever they play, The Heavyweights Brass Band are ready to make you dance, strut, and testify with their fifth full-length album, Knockout, dropping June 27, 2025. With a sound steeped in New Orleans brass traditions, Toronto’s reigning brass band champions fuse jazz, funk, and soul into a heady, horn-heavy celebration of everything that makes music joyful and alive.
Their lead single “Carnicero,” arrived April 25 and nods to their roots and their future. Written by sousaphone sensation Nolan Murphy, the track is a Latin-influenced shout-out to the band’s co-founder Christopher Butcher, who now calls New Orleans home. Think street parades, steamy late-night clubs, and a trumpet line that makes your heart do backflips. This is the kind of song that makes you want to dance in traffic.
Follow-up single “Splacka,” out today, and you’ll know why they call it that as soon as the drums kick in. “It’s funk from the jump,” says trombonist RJ Satchithananthan, who composed the track. “The name ‘Splacka’ is literally the sound of the beat.” The track’s got that classic sitcom-style band intro energy — full of swagger, horn call-and-response, and a groove so deep you’ll need a passport.
And just when you think you’ve caught your breath, the album closer “Greater Good” (out June 27 with the album) brings it all back to the bayou. “It’s our love letter to New Orleans brass bands,” the group says, name-checking heroes like Rebirth, Dirty Dozen, and Hot 8. “This is who we are, and who we’ve always aspired to be.”
Knockout was recorded over two days at Taurus Studios, with the entire band playing together in one room. That energy — that sweat-on-the-walls, live-off-the-floor magic — is the soul of the album. With 11 songs and contributions from a new generation of jazz trailblazers like Kae Murphy (trumpet) and Nolan Murphy (tuba), the album is both a celebration and a passing of the torch. “The Toronto brass scene has grown so much,” the band says. “Including younger musicians who are pushing boundaries was vital for this project.”
In their own words, “The Heavyweights Brass Band is a flag planted in the middle of the dancefloor. We hit hard with groove, energy, and originality. We’ve always believed in putting our personalities in the music, from gritty funk to bold soul to pure brass band joy. This record shows where we’ve been — and where we’re going.”
Formed in 2010, HWBB has carved out a unique place in Canadian music. From sweaty club gigs to festival stages, they’ve opened for The Roots, jammed with Trombone Shorty, and recorded with everyone from Giovanni Hidalgo to Joe Lastie of Preservation Hall. They’ve earned standing ovations from the Toronto Jazz Festival to hometown bars and built a catalogue of genre-bending originals and electrifying covers.
To celebrate the release of Knockout, the band will appear in Niagara Falls, Toronto, and Montreal. Expect two trumpets, a sousaphone, a drum kit, and enough brass swagger to power a second line through downtown traffic.
June 20, 2025 – Niagara Jazz Festival: Summer Mardi Gras
Oakes Garden Theatre
5825 River Rd, Niagara Falls, ON
June 28, 2025 – Album Release Show
Toronto Jazz Festival – Village Stage
Village of Yorkville Park
115 Cumberland St, Toronto, ON M5R 1A6
8:30 PM – 9:45 PM
Free Admission
July 2, 3 & 4, 2025 – Montreal Jazz Festival
6:00pm @ Le Cabaret Loto-Québec Stage of the Quartier Des Spectacles
Montreal, QC
Festival details at: montrealjazzfest.com