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June 7 Hugh’s Room Live: Former Nylons Member Micah Barnes Returns With ‘Up On The Roof,’ Honouring Claude Morrison

Eric Alper
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June 7 Hugh’s Room Live: Former Nylons Member Micah Barnes Returns With ‘Up On The Roof,’ Honouring Claude Morrison

It will be more than just a concert when beloved Canadian jazz vocalist and former member of The Nylons, Micah Barnes, takes the stage for his upcoming solo performance Up On The Roof at Toronto’s Hugh’s Room on June 7. Tickets are now available here. It will be a homecoming of spirit, sound, and song. With just a piano, his voice, and a storied past that spans continents and genres, Micah is preparing to offer something truly rare — a musical journey through a life shaped by doo wop, cabaret, soul, and jazz, rooted in the clubs of Toronto and further developed in Los Angeles, New York, and around the world.

Micah’s voice has long been described as “swoonworthy” by LA Weekly and “unrivalled” by Canadian Musician, and in this intimate performance, he invites audiences not only to hear him sing, but to experience his story. Up On The Roof will explore pivotal moments from his youth in Toronto, through his time with The Nylons, and into his richly textured solo career. This is Micah at his most personal — reflective, joyful, and generous in spirit.

The concert holds special meaning as Micah pays tribute to the legacy of The Nylons and to founding member Claude Morrison, whose recent passing left a deep mark on the Canadian music community. Claude’s voice was a cornerstone of the group’s sound, and his spirit will be celebrated with warmth and gratitude during the evening. This homage to friendship, brotherhood, and shared harmony adds another layer of emotional resonance to an already powerful show.

Micah’s solo work, including chart-topping albums New York Stories and Vegas Breeze, has earned him national acclaim. Now an Alma Records/Universal Music recording artist, his music draws from the golden age of jazz, sophisticated cabaret, classic soul all with a little bit of rock n roll edge from his Queen Street days. In his new concert evening Up On The Roof, Micah will perform songs from his popular recordings alongside beloved Nylons classics like “Two Silhouettes On The Shade” , “Happy Together” and “Up The Ladder To The Roof,” inviting audiences to sing along to the soundtrack of their own memories.

With a unique blend of charisma, musical mastery, and heartfelt storytelling, Micah Barnes has long existed in a space between timeless elegance and bold innovation. His return to the solo stage marks a moment of gratitude for the path behind him and excitement for the road ahead. Each note promises to carry the weight of experience and the lightness of joy.

There are few artists who can hold a room with just a piano and their presence — Micah Barnes is one of them. Up On The Roof will not just be a performance; it will be a gathering of souls, joined in song, remembering where we’ve been and dreaming of where we’re going. For longtime fans and new listeners alike, this is a concert that will live in the heart long after the final note fades.

Tickets for this very special event are expected to move quickly. For full details, please visit www.micahbarnes.com. Come ready to be moved, uplifted, and reminded of the power of music to connect us all.

Canadian Icons Lighthouse to Headline South Coast Jazz 2025 in Brantford and Port Dover August 8-10

Eric Alper
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Canadian Icons Lighthouse to Headline South Coast Jazz 2025 in Brantford and Port Dover August 8-10

— From jazz giants to rock legends, South Coast Jazz is back — bigger, bolder, and brassier than ever. The 12th Annual South Coast Jazz Festival returns August 8–10, 2025, for a three-day celebration of music, culture, and community in Brantford and Port Dover — and it’s bringing one of Canada’s most iconic bands to headline the weekend.

On Saturday, August 9 at 7:00 p.m., the legendary Lighthouse will light up the Sanderson Centre in Brantford for a one-night-only performance. But this isn’t just a concert — it’s your key to the entire festival. For just $40, every Lighthouse ticket buyer also receives a South Coast Jazz Festival Pass, unlocking guaranteed access to all other ticketed events across the weekend while supplies last. Buy now at https://www.southcoastjazz.com/  and claim your spot at the summer’s most soulful weekend. Local favourites Dave Griffin and Avery Raquel will open the show, with a short appearance by Queen Mary The Artist and other surprise guests joining the celebration.

“Now more than ever, it’s important to support Canadian,” says Juliann Kuchocki, South Coast Jazz Director and Founder. “Your participation is instrumental in sustaining live music, creating jobs, and enriching the cultural fabric of our communities. We’re proud to say this festival has generated more than a million dollars in tourism-related economic growth to date — and this year, we’re aiming even higher.”

Lighthouse changed the game when they burst onto the scene in 1969, fusing rock, jazz, and classical into a sound that turned heads and filled stadiums. With four Juno Awards, four gold albums, and Canada’s first platinum album, their hits like “One Fine Morning”, “Sunny Days”, and “Pretty Lady” remain Canadian classics. This will be a rare chance to see them perform live with an all-star lineup including co-founder Paul Hoffert, original member Russ Little, and a powerhouse ensemble of veteran musicians.

“This concert is going to be recorded, so every voice in the audience becomes part of our shared musical history,” says Kuchocki. “Come for the hit songs, stay for the magic of being part of something timeless.”

And the music doesn’t stop there. The festival kicks off on August 8 at Harmony Square in Brantford with a free performance by Queen Mary The Artist, a jazz-soul powerhouse who’s performed across Canada, the U.S., and South America. The following day, Lighthouse takes the stage. Then, on August 10, the scene shifts to Glenhyrst Gardens and Gallery Brantford 1–3 PM showcase featuring Jesse Murphy, Mya Chappell, Gail Fuller, Michael Bell, and more — topped off with an intimate jazz session at Schofield Bistro featuring Kateryna Khon and returning artists.

Each artist brings a powerful story and sound. From Mya Chappell’s soulful blend of healing and song to Kateryna Khon, a Ukrainian pianist whose journey to Canada infuses every note with emotion — this festival doesn’t just highlight great music, it tells the stories behind it.

Add to that Gail Fuller, whose decades-long return to music was sparked by South Coast Jazz itself, and Michael Bell, an award-winning singer-songwriter staging a jazz comeback — and you have a lineup that celebrates resilience, talent, and the power of song to connect.

The festival’s emcee this year is none other than Laura Fernandez — celebrated jazz singer, pianist, and host of Café Latino on JazzFM91. Born in Spain, raised in Calgary, and currently based in Toronto, Fernandez brings global flair to the local stage. “There’s no better feeling than bringing people together through music,” says Fernandez. “And South Coast Jazz does exactly that.”

Founded in 2014, South Coast Jazz began on the shores of Norfolk County and quickly grew into a cultural force. Past headliners have included David Sanborn, Holly Cole, Jully Black, Liona Boyd, and many more. Even during the pandemic, South Coast Jazz made waves — pivoting to a groundbreaking TV-style digital festival in 2020 that earned praise from the Wall Street Journal. Since then, the festival has continued to innovate, partnering with Stingray DJazz and expanding into Brantford and beyond.

Thanks to local, regional, and federal support — and an ever-growing list of sponsors — the South Coast Jazz Festival has become a vital part of Ontario’s summer music scene, delivering live music experiences and creating opportunities for artists at every stage of their career.

With a mission to celebrate Canadian talent and build lasting cultural experiences, South Coast Jazz invites you to join the movement. Whether you’re a lifelong fan of jazz and roots music or just discovering it, this festival offers an unforgettable way to connect, groove, and give back.

Tickets are going fast — buy yours now at southcoastjazz.com. No taxes. No service fees. Just great music, great people, and an unforgettable Canadian summer.

Canada’s Teen Jam Heads To Vancouver’s Clutch Theatre October 2 For Nation’s Rising Musical Superstars

Eric Alper
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Canada’s Teen Jam Heads To Vancouver’s Clutch Theatre October 2 For Nation’s Rising Musical Superstars

Canada’s Teen Jam, the country’s premier showcase for teen music talent, is heading west for an unforgettable night in Vancouver. Following two electric, sold-out shows in Toronto, the spotlight now shifts to the historic Cultch Theatre on October 2, 2025, where the next generation of Canadian musical superstars will take center stage.

Created and produced by legendary live music producer Mark Higgins—whose résumé includes live shows for Aerosmith, Bryan Adams, Soundgarden, The Tragically Hip, ZZ Top, Slash and more—Canada’s Teen Jam is more than a concert. It’s a national movement designed to amplify homegrown teen talent and give young artists the stage, support, and spotlight they deserve.

“This isn’t just a show,” says Higgins. “This is a movement. When you believe in musical teens, you believe in Canada.”

Fans can expect an evening of original music performed by Canada’s boldest and brightest teen artists. The Cultch Theatre—a legendary venue known for its rich history and vibrant creative energy—will provide the perfect backdrop for a showcase brimming with passion, originality, and star power.

“We should not have to go to America to make it,” Higgins says. “Canada should create the next global sound wave. That starts here. That starts now.”

This next stop on the tour promises more breakout moments and surprises as Canada’s Teen Jam continues building a coast-to-coast platform for young musicians.

Submissions are now open for Vancouver performers. Teens with original music are encouraged to apply online at canadasteenjam.com. The submission fee is just $10, and all entries will be reviewed by a panel of music professionals.

Tickets for the Vancouver showcase are available now at canadasteenjam.com and are priced at $18 for students and $25 for adults.

Supported by United Van Lines Canada, Canada’s Teen Jam is committed to nurturing teens, families, and communities nationwide. Through high-profile live shows, digital content, and international promotion, the program is redefining how young artists break through.

Don’t miss your chance to be part of the movement that’s shaping the future of Canadian music. Come see it. Come feel it. Come support the next wave of stars.

EVENT DETAILS:
What: Canada’s Teen Jam – Vancouver Showcase
When: October 2, 2025
Where: The Cultch Theatre
Tickets: Available now at canadasteenjam.com

One of Music’s Lost Boys No More, Wolfgang Webb Returns with a Second Album of Obsidian Nighttime Musings

Eric Alper
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One of Music’s Lost Boys No More, Wolfgang Webb Returns with a Second Album of Obsidian Nighttime Musings

Wolfgang Webb creates music during the hours when most of the world lies dormant, harnessing the quiet darkness that fuels his soul. The half-Austrian, Canadian artist—who stepped away from the music industry decades ago to craft anonymous compositions for film and television—has once again channeled his insomnia into art with his sophomore album, ‘The Lost Boy’, out now.

His debut, ‘The Insomniacs’ Lullaby’, introduced listeners to his haunting sonic landscape—brooding compositions that confront mortality, loss, and the ghostly echoes of trauma. With this new record, Webb plunges even further into these emotional depths, though he insists that darkness is not the destination but merely the path. ‘The Lost Boy’ explores the fragile act of reconnecting with one’s inner child and navigating the shadows of relationships that leave indelible marks on the psyche. It’s music born from sleepless nights—an echo of midnight fears and silent reflections—that paradoxically offers solace, reminding us that we are not alone in our darkest hours.

‘The Lost Boy’ defies easy categorization within modern genre labels. Kraftwerk-inspired electronics blend seamlessly with trip-hop rhythms and classical instrumentation, creating atmospheres that feel both contemporary and timeless. The ten-track collection reflects a unique artistic vision shaped through recording sessions across France, Los Angeles, the UK, and Toronto. The result is a unified musical journey that rewards attentive listening, with each track serving as a crucial part of a broader narrative about confrontation, healing, and transformation.

The album’s lead single, “March,” is a hypnotic duet featuring Esthero, whose celestial vocals weave a shimmering counterpoint to Webb’s earthbound delivery. Mixed by Bruno Ellingham—whose credits include Massive Attack, New Order, and Spiritualized—this track exemplifies Webb’s knack for collaboration, carefully selecting artists whose textures enrich his cinematic soundscape. The accompanying video, shot across three countries, weaves ancient ruins and electric towers into what Webb calls “a tapestry of decayed beauty”—visual metaphors that deepen the song’s meditation on impermanence.

The second single, “The Ride,” continues this cinematic journey, showcasing Ellingham’s mastery of atmosphere with vintage ARP synthesizers reminiscent of Brian Eno’s ’70s innovations, fused with a contemporary edge. The visuals explore abandoned spaces—silent theaters and deserted amusement parks—where nature gradually reclaims what was once human territory. This haunting meditation on endurance and decay complements Webb’s lyrical reflection: “What do you say when all is gone, the history won’t play along…”

Webb has gathered an impressive roster of collaborators for this project. Mark Gemini Thwaite—renowned for his work with Peter Murphy and Gary Numan—contributes guitar textures that subtly echo the atmospheric depths of The Cure, especially on “Is It OK To Fall?” Toronto multi-instrumentalist Derek Downham brings earthy, desolate guitar tones to “Rough Road To Climb” and “It All Goes Away.”

Following that, “Clap” unfolds as an ethereal, moody lullaby—like a whispered nursery rhyme from a dreamscape of forgotten wonder—soothing and delicate, offering a fragile thread of hope and gentle companionship amid the shadows. Meanwhile, return collaborator and cellist Yann Marc’s haunting improvisations on “Roads” form the emotional core of Webb’s tribute to a friend lost to suicide.

What truly sets ‘The Lost Boy’ apart is Webb’s refusal to linger in despair. His compositions acknowledge pain but refuse to be defined by it, offering glimpses of light that feel genuine rather than manufactured. These songs trace the arduous path toward healing, suggesting that facing our darkest thoughts can be more freeing than suppressing them. The music doesn’t offer easy solutions but provides companionship through its complexity—a soundtrack for those navigating life’s most intense emotional depths.

Webb’s unconventional songwriting process—where many tracks emerge fully formed in spontaneous bursts of inspiration—imbues these compositions with an authenticity that’s hard to fake. They feel less like meticulously crafted pop songs and more like raw emotional states captured in their purest form, later refined through production without losing their essential truth. This spontaneous approach creates music that resonates on a visceral level, bypassing intellect to speak directly to the listener’s emotional core.

Canada Black Music Archives Unveils ‘B’LACK THEN: Muted Melodies’ Exhibit at York University

Eric Alper
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Canada Black Music Archives Unveils ‘B’LACK THEN: Muted Melodies’ Exhibit at York University

The Canada Black Music Archives (CBMA) invites you to explore their latest exhibition, B’LACK THEN: Muted Melodies. On display at the Archives of Ontario, this special exhibit delves into the untold stories of Black musicians from Ontario.

Spanning over a century, dive into the lives of over 20 artists from across 10 music genres through photographs, albums, newspaper clippings, film screenings, and discussions. Artists featured include gospel music pioneers, Reverend Richard Amos Ball of the Ball Family Jubilee Singers; internationally acclaimed and Canada’s first Black opera singer, Portia White; jazz & blues award-winning singer-songwriter, composer, playwright and actress, Salome Bey; rhythm & blues and transgender performer, Jackie Shane; reggae & ska legend, Jackie Mittoo; classical music composer and arranger, Nathaniel Dett; musician, award-winning writer, playwright, spoken word artist and rapper, Motion and many more.

The exhibition will open at the Archives of Ontario on May 22, 2025 and run until February 27, 2026. The Archives is located at 134 Ian MacDonald Blvd on York University campus and is open weekdays from 8:30 am – 5:00 pm.

B’LACK THEN: Muted Melodies will also be featured for Toronto’s Doors Open weekend. Steelpan teacher Pat McNeilly, otherwise known as Pan Man Pat, will be performing and presenting the history of the pan. McNeilly was instrumental in establishing the steelpan in Toronto schools and has performed at every Toronto Caribbean Carnival since its 1967 founding.

Different Timbres, by filmmakers Claire Prieto and Roger McTair, will also be screened. The documentary looks at steel drum production and its cultural influence in Ontario in the 1970s and 1980s.

The Archives of Ontario will be open for Doors Open on May 24th from 10:00 am – 5:00 pm.

“We are really excited to see these untold stories from Ontario’s musical past come to life in our Reading Room,” offers Sean Smith, Senior Manager, Outreach and Education at the Archives of Ontario. It has been such a pleasure working with the Canada Black Music Archives on this exhibit. Their choice of material, including records from our own collection, should provide visitors with an appreciation for the contributions of these artists to Black musical history. We look forward to welcoming new users and communities to the Archives of Ontario and to the opportunity of sharing a bit about the role archives play in preserving and making accessible Ontario’s past.”  

As Canada’s first national digital archive dedicated to researching, documenting and preserving the history of Canadian Black artists, the Canada Black Music Archives’ main objective is to shine a light on their hidden and largely unexplored musical contributions.

Executive Director of the CBMA, Phil Vassell says: “This 10-month exhibition of B’LACK THEN: Muted Melodies at the Archives of Ontario marks a major milestone for the Canada Black Music Archives, coming on the heels of our previous exhibit on Toronto’s Hip Hop Culture at the City of Toronto Archives during Black History Month in February, earlier this year. This exhibit at the Archives of Ontario reflects a wider view of multiple music genres featuring Black musicians from across Ontario for over a century.”

From jazz to hip hop, these muted melodies deserve the spotlight and are an essential part of Ontario’s history. Join the CBMA and explore the untold stories of these Black Ontario artists.

This exhibit is supported in part by Archives of Ontario, and the Toronto Arts Council.

For more information and a full list of featured artists, please visit  https://thecbma.com/black-then-muted-melodies/.

Liss Gallery Welcomes Bernie Taupin Back to Toronto on June 14

Eric Alper
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Liss Gallery Welcomes Bernie Taupin Back to Toronto on June 14

The Liss Gallery is thrilled to welcome Bernie Taupin, renowned visual artist and legendary songwriter, back to Toronto for an exclusive artist-in-attendance event on Saturday, June 14, 2025.

Best known as the lyricist behind Elton John’s most iconic songs—from “Tiny Dancer” to “Rocket Man” to “Your Song”—Taupin’s influence on the music world is undeniable. But over the past two decades, Taupin has carved out an equally compelling identity as a contemporary visual artist, bringing the same poetic depth and layered storytelling to canvas that he once brought to song.

This event marks Taupin’s return to Toronto with “Two Sides of the 60s,” his celebrated collaborative series with the late British photographer Terry O’Neill. In this body of work, Taupin overlays O’Neill’s legendary photographs—capturing stars like Audrey Hepburn and Muhammad Ali—with bold, expressive mixed media interventions. The result is a powerful dialogue between pop culture history and personal vision, nostalgia and reinterpretation.

The exhibition will also include selections from “Reflections,” Taupin’s most recent solo series, which continues to explore memory, symbolism, and the language of abstraction. These richly textured works offer collectors a unique glimpse into the emotional and aesthetic world of an artist whose cultural contributions span more than 50 years.

In a rare opportunity, collectors who acquire pieces will be invited to meet privately with Mr. Taupin on the evening of June 14. This exclusive event is RSVP-only and space is extremely limited.

Confirmed RSVP is mandatory. Priority admittance will be given to Liss Gallery collectors.

To secure a work in advance and guarantee entry to the artist-in-attendance evening, please contact the gallery at 416-787-9872, visit us in person, or email them directly through the RSVP portal.

Among the works available for acquisition:

  • Audrey Hepburn – Hippy Hat (Bernie Taupin & Terry O’Neill): A 1966 portrait of Hepburn reimagined with cosmic and naturalist motifs, transforming her minimalist helmet into a psychedelic dreamscape.
  • Muhammad Ali – The True Identity of Superman (Bernie Taupin & Terry O’Neill): Featuring a 1972 image of Ali training in Dublin, layered with comic-book iconography inspired by Ali’s famous claim, “Superman don’t need no seatbelt!”

Taupin’s visual art continues to captivate collectors across the globe, from New York and Los Angeles to London and now Toronto. Each piece is a meditation on cultural memory, identity, and reinvention—expressed through collage, paint, and an ever-curious eye.

Don’t miss this chance to experience the dual genius of Bernie Taupin—whose words once filled stadiums and whose brush now commands the canvas.

Folk Guitarist Brian Campbell Releases New Single “I Saw You Going Out Today”

Eric Alper
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Folk Guitarist Brian Campbell Releases New Single “I Saw You Going Out Today”

Montreal-based contemporary folk artist Brian Campbell continues his string of poetic, emotionally resonant releases with “I Saw You Going Out Today,” out now.

Known for his deft fingerstyle guitar, intimate lyricism, and storyteller’s charm, Campbell delivers a song that feels both timeless and immediate—rooted in the traditions of classic singer-songwriters yet bearing the sensitivity of modern folk expression.

The single is part of Campbell’s upcoming full-length album Let’s Talk, which explores the theme of communication—both tender and fraught—in love, politics, and the world at large. “I Saw You Going Out Today” stands out as one of the album’s most personal, bittersweet entries.

Set to a delicate nylon-string guitar and enriched by Erich Kory’s cello, the track reflects the joyful unease of lasting love, asking whether the comfort and safety we feel in someone’s presence are real or just other “flights of fancy that swiftly die / that come from voice and guitar.” 

Originally drafted on a Montreal balcony nearly 30 years ago, the song was recently completed with input from acclaimed Canadian folk artist David Francey, who helped shape lines like: “Your presence in my life, my love / Is sunlight showering from above.”

The tension between security and doubt gives the track its quiet magic. “Maybe sorrow is not very far,” Campbell sings, but the memory of a kiss and a cheerful wave brings a grounding peace: “Ah, you made me feel so glad.”

Influenced by Latin American nueva canción artists like Pablo Milanés and Victor Jara, the song’s structure and sentiment echo their honest aesthetic—gentle, poetic, and laced with socio-emotional depth.

Campbell’s collaborators on the track and forthcoming album include Karina Marquez and Leesa Mackey (backing vocals), and Chard Chénier (harmonica), Danilla Carbert (trumpet), the aforementioned Erich Kory (cello), Martin Bennett (lead electric guitar, bass) and Michael Rien (drums), all of whom contribute to the warmth and intricacy of the arrangements.

“I Saw You Going Out Today” follows previous singles “Planet on Fire,” “Only Breath,” and “A Crystal Rim,” each praised for their lyrical craftsmanship and emotional reach by outlets like Canadian Beats, Tinnitist, and Record World International.

The single will be officially launched at a special album release event for Let’s Talk on Thursday, June 19 at Mariposa… le café in Montreal (5562 Upper Lachine Rd., 6–8pm, doors at 5pm). Campbell is also slated to perform at Hudson Porchfest on September 13–14, with selections from Let’s Talk featured in the setlist.

With “I Saw You Going Out Today,” Brian Campbell once again proves that quiet truths—delivered by voice and guitar—can speak the loudest.

Minuscule Release “Nice Guy,” A Fiercely Tender New Single About Love, Harm, And Healing

Eric Alper
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Minuscule Release “Nice Guy,” A Fiercely Tender New Single About Love, Harm, And Healing

Harmonic pop ensemble Minuscule returns with “Nice Guy”, a defiant anthem for empaths and romantics released May 2 via Catland Records. Soaring with five-part harmonies and rooted in deep emotional terrain, the track previews their much-anticipated sophomore album If Not Now, due out October 17, 2025.

“I know my worth / I want a nice guy for me,” lead singer and songwriter Laurel Minnes insists on the closing refrain — a shimmering reclamation of compassion in a world that often rewards cruelty. Equal parts catchy and cathartic, “Nice Guy” doesn’t so much flip the toxic masculinity script as it rips it up and composts it into something stronger, more beautiful, and enduring.

The song’s origins are as warm and peculiar as the band’s ethos. “My mom, sisters, and I have this goofy voice we use for big dopey pets: ‘Ohhh what a Niiiice Gooouuuyyyy,’” Minnes recalls. “My niece picked it up, and while petting our old cat Roy Boy, she said it back to us — which somehow became this whole song about inherited language, expectations, and what we teach our kids about love.” From that quirky spark came a deeply autobiographical track reflecting on unhealthy relationships, manipulation, and how childhood instability can distort our sense of what’s “normal” in love.

Drawing from the musical minds of Minuscule’s powerhouse lineup — Tara Stanclik (vox/keys), Jill Smith (vox/bass), Catherine Leniarsky (vox/percussion), Taylor Hulley (drums), and Michael Saracino (vox/guitar) — “Nice Guy” is both lush and raw. It’s no surprise the group has collaborated with Juno- and Polaris-nominated artists from Great Lake Swimmers to Vile Creature, earning praise for their genre-defying arrangements. Minnes’ earlier song “Great” won her Songwriter of the Year at the Niagara Music Awards and airplay on CBC’s Q. This new single takes their sonic ambition and vulnerability even further.

Recorded between Catland and WOW! Recording Studio (home to sessions for Sarah Harmer and Ron Sexsmith), “Nice Guy” features acoustic and bass by Joseph Stracuzzi, ghostly guitar swells from Saracino, and backing vocals by a choir of family and friends — including Minnes’ own mother and sister. It’s a full-circle moment that brings the song’s message of healing and inherited growth to life.

Lyrically, it cuts deep:

“Her fam dynamics were unstable / she grew up hearing her parents cut each other down around the dinner table… / so she equated fighting with passion / now she’s uneasy when it’s quiet.”

It’s uncomfortable. It’s honest. And it lands like a hug and a hard truth all at once — a signature of Minuscule’s progressive, harmonic pop

Minuscule has enchanted festival stages nationwide — from Hillside to In The Soil, Paris Drinks to Sonic Glow — and 2025 promises more chances to catch them live. Upcoming tour dates include:

June 22 – Trail Mix Festival, The Exchange, Niagara Falls, ON
July 18–20 – Starbelly Jam Festival, Crawford Bay, BC
July 23 – 39 Days of July Festival, Duncan, BC
July 25–27 – Mission Folk Festival, Mission, BC
August 7 – Bluewater Park Bandshell, Wiarton, ON
September 13 – Supercrawl, Hamilton, ON

To the soft-hearted, the self-aware, the ones who keep showing up with kindness: “Nice Guy” is for you. As Minnes says, “Do not degrade yourself to abide by the misogynistic, alpha-masculinity that rules much of our media today. You don’t need to change. We will heal. And we will be so thankful to find you, as you are.”

HOOCH Unleash A Gasoline-Soaked Garage Rock Sucker Punch In New FREELOADER Album

Eric Alper
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HOOCH Unleash A Gasoline-Soaked Garage Rock Sucker Punch In New FREELOADER Album

Born in the back of a Chevy Blazer and raised by destruction, HOOCH don’t play music. They detonate it. Their full-length debut FREELOADER, out April 18 on Indica Records, is a raw nerve of blown speakers, blackout memories, and back-alley anthems. It’s a soundtrack for bar fights, bad decisions, and the unrelenting hangover of real life — and it might be the best decision this band has ever made.

Led by frontman Gabriel Bower, who credits the album’s creation to crawling out of addiction and debt, FREELOADER is a personal exorcism. “I used to be a bit of a maniac,” Bower says. “The lyrics in CRASH MY CAR, TAKE IT TO THE LIMIT, and NOOSE come from a time when I ran away from music, thinking it would never be real for me. This album is everything that built up while I was out running.”

The album’s lead single CRASH MY CAR is a Molotov cocktail of bravado and breakdowns. “I’m gonna crash my car / Just like the movie stars / Snort cocaine off my Balenciaga,” Bower snarls over a riot of guitars. “I’m gonna take my pain right to the liquor store / Find a way to always keep me wanting more.” It’s part fantasy, part confession — and all fire.

The second single TEKILLYA hits with the subtlety of a broken bottle, packing punk snarls, surf riffs, and rabbit metaphors into just over a minute of mayhem. “Hey little rabbit / You better stay out of my garden,” the track spits, daring you to flinch. And if you blink, it’s already moved on to something weirder and wilder.

HOOCH is made up of five snarling personalities from Halifax: Gabriel Bower (vocals, guitar), Neil LeMoine (bass, vocals), Andrew Matthews (drums), Morgan Zwicker (guitar), and Kathryn McCaughey (keys, vocals) — a crew with enough backstories to fill a crime blotter and enough talent to blow the roof off any club from Montreal to Moncton. And with Peter Edwards on mixing and Ryan Morey on mastering, FREELOADER doesn’t sound just dangerous — it sounds huge.

Tracks like NOOSE and WHEN THE DAY COMES peel back the chaos and reveal the real stakes: depression, addiction, desperation. “Sometimes it makes you wanna die / Just tryin’ to get it right sometimes,” Bower sings on NOOSE, while WHEN THE DAY COMES chokes on the line: “Hey buddy, you ain’t gonna make it now.” It’s pure punk poetry with no filter and no forgiveness.

FREELOADER is the album you blast when you’ve got nothing left to lose — and everything to scream about. From the thunder of W.A.C.T.F to the black comedy of NIMPH, HOOCH balances bloodshot honesty with blistering riffs, all soaked in whiskey, sweat, and gasoline.

This is garage rock for the reckless, the ragged, and the real. No polish. No pretense. Just HOOCH.

The Ultimate Guide to the “Fifth Beatle”: Unsung Heroes Behind the Fab Four

Eric Alper
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The Ultimate Guide to the “Fifth Beatle”: Unsung Heroes Behind the Fab Four

Everyone knows John, Paul, George, and Ringo — the Beatles who rocked the world. But behind every great band is a squad of secret weapons, the unsung legends who kept the magic alive. Meet the “Fifth Beatles”: the managers, musicians, and mates who played crucial roles in the Fab Four’s rise to superstardom. From early bandmates to behind-the-scenes masterminds, their stories are just as fascinating as the music itself.

Stuart Sutcliffe
The Beatles’ original bassist and close friend of John Lennon, Sutcliffe was as much a visual architect of the band’s early image as he was a musician. His moptop hairstyle set the style for the band, even if his playing was less than polished. Sadly, he left the band early and passed away young.

Pete Best
Drummer before Ringo, Pete Best toured and played with the Beatles during their crucial Hamburg and Liverpool days. Despite being replaced just before their big break, Best’s role in the band’s development is undeniable, earning him a solid claim to the title.

Chas Newby
A temporary bassist who filled in briefly after the band returned from Germany, Newby played a handful of shows before returning to university. His brief tenure helped the Beatles keep their momentum before McCartney took over on bass.

Jimmie Nicol
For eight shows on the 1964 world tour, Nicol stepped in as drummer when Ringo was ill. His stint was short but historic, making him the “fifth Beatle” on tour, albeit briefly.

Brian Epstein
The Beatles’ manager, and arguably the most important figure in their rise to superstardom. Epstein’s business savvy, belief in the band, and grooming helped transform them from a local Liverpool act into global icons. McCartney and Martin called him the real “fifth Beatle.”

George Martin
The genius producer who shaped the Beatles’ sound in the studio, Martin’s classical training and open-mindedness made him an indispensable part of the Beatles’ creative journey. McCartney called him “the most generous, intelligent and musical person” he ever met.

Neil Aspinall
Starting as the band’s roadie and driver, Aspinall grew into a trusted assistant and Apple Corps executive. He managed marketing and even contributed musically on several Beatles tracks, earning Harrison’s praise as one of two genuine “fifth Beatles.”

Derek Taylor
The Beatles’ press officer and publicist, Taylor helped craft their public image and managed media relations with flair. Harrison named him alongside Aspinall as one of the true “fifth Beatles” at the 1988 Rock & Roll Hall of Fame induction.

Tony Sheridan
The first artist to record with the Beatles backing him in Hamburg, Sheridan was bigger name at the time. Their early recordings as “The Beat Brothers” helped lay the groundwork for their later fame.

Andy White
A session drummer hired to record the US version of “Love Me Do,” White’s role was brief but significant as he played on the Beatles’ first single released in America.

Billy Preston
Preston’s keyboard work on classics like “Get Back” added soul and energy to their later recordings. Lennon even suggested he join the band, a rare public nod to his importance.

Eric Clapton
Invited to play lead guitar on “While My Guitar Gently Weeps,” Clapton’s presence brought a bluesy edge to the Beatles’ sound. Lennon even wanted him to replace Harrison once, highlighting his musical clout.

Klaus Voormann
A friend from the Hamburg days, Voormann designed the iconic Revolver album cover and played bass on many solo Beatles records, making him a lifelong Beatles associate.

Jim Keltner
Renowned session drummer who played on solo albums by Lennon, Harrison, and Starr. His deep connection with the band members and their projects earned him informal “fifth Beatle” status.

Harry Nilsson
Dubbed the “American Beatle” by their publicist Derek Taylor, Nilsson was a close friend and collaborator, admired by Lennon and McCartney alike.

  • Murray the K
  • The American DJ who first dubbed himself the “fifth Beatle” thanks to his tireless promotion of the band on his radio show. His enthusiasm helped bring the Beatles to a wider audience in the early days of Beatlemania.
  • George Best
  • The legendary footballer whose mop-top hairstyle and superstar status earned him the nickname during the Beatles’ peak. His style and fame made him a cultural icon often compared to the Fab Four’s influence.
  • Jimmy Tarbuck
  • A comedian and John Lennon’s schoolmate, Tarbuck was jokingly called the “fifth Beatle.” His fame, accent, and look made him a playful stand-in for the band during their early years.
  • Apu
  • In a fun twist of pop culture, The Simpsons episode “Lisa the Vegetarian” features Apu as an old friend of Paul and Linda McCartney during their 1968 trip to India. Apu jokingly claims he was once the “fifth Beatle,” to which Paul sarcastically replies, “Sure you were, Apu,” while rolling his eyes—proving even cartoons get in on the legendary title.

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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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