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Triple the Vinyl, Triple the Vision: 15 of the Best Triple Albums in Music

Eric Alper
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Triple the Vinyl, Triple the Vision: 15 of the Best Triple Albums in Music

Triple albums are a rare breed. They’re not just collections of songs — they’re full-blown experiences. They demand your attention, challenge your patience, and reward your soul. They say to the listener, “Strap in, we’ve got a lot to say.” And if done right, a triple album doesn’t feel like too much. It feels like exactly enough.

Whether it’s because the band was on fire creatively, had a sprawling story to tell, or just didn’t want to leave anything on the cutting room floor, triple albums are a beautiful musical flex — and some of them have become essential pieces of rock, jazz, and hip-hop history.

Here are 15 of the greatest triple albums ever released — no filler, all killer. Let’s go.

George Harrison – All Things Must Pass
When the quiet Beatle finally got the mic, he delivered a cosmic, spiritual, hit-packed epic. “My Sweet Lord” was just the beginning — this triple LP is overflowing with warmth, wisdom, and a little help from his friends (Phil Spector! Eric Clapton!).

The Clash – Sandinista!
Punk? Sure. Reggae? Yep. Hip-hop, gospel, dub, funk, calypso? Why not! Sandinista! is the sound of a band busting out of every box they were ever put in. 36 songs, infinite ambition, and not a safety net in sight.

Prince – Emancipation
Three discs. One hundred and eighty minutes. One Purple legend. This 1996 release marked Prince’s freedom from his Warner Bros. contract, and he celebrated with a genre-hopping joyride of funk, soul, pop, and covers. Prince wasn’t just prolific—he made being prolific sound magical.

The Magnetic Fields – 69 Love Songs
This one does what it says on the tin: 69 songs, all about love, all by Stephin Merritt and co. It’s witty, heartbreaking, theatrical, minimalist, maximalist, and downright brilliant. A triple album for the indie romantics.

Yes – Yessongs
Prog rock at its most unrestrained, Yessongs captures Yes live in all their dazzling complexity. Every note is played like it’s part of a mission from the cosmos. It’s bombastic, beautiful, and completely over the top—in the best way.

Erykah Badu – Erykah Badu: Live (vinyl edition)
The original CD version isn’t technically a triple, but the deluxe vinyl release of Badu’s live debut spreads the magic over three LPs. Soulful, raw, spiritual, and funky—it’s proof that she could command a stage with nothing but a groove and the truth.

Frank Sinatra – Trilogy: Past Present Future
Only Sinatra could turn a triple album into a time machine. He croons the classics in The Past, swings into contemporary tunes in The Present, and goes full concept album in The Future. You haven’t lived until you’ve heard Sinatra sing about space colonies.

The Smashing Pumpkins – Mellon Collie and the Infinite Sadness
Ok, technically a double CD, but on vinyl? Triple LP all the way. It’s the defining alt-rock epic of the ’90s. Guitars crunch, strings soar, and Billy Corgan dreams in loud, distorted poetry.

Miles Davis – Live at the Plugged Nickel 1965
This triple LP (expanded to even more in later box sets) captures Miles and his “second great quintet” at their most exploratory. These performances redefined jazz standards in real time and a masterclass in spontaneous reinvention.

Woodstock – Music from the Original Soundtrack and More
Peace, love, mud, and music — this triple album immortalized the sound of a generation. From Hendrix to Joplin to CSNY, it’s a sonic time capsule from the most legendary music festival of them all.

Joanna Newsom – Have One on Me
Three discs of baroque folk, harp-plucked introspection, and lyrical labyrinths. This is a modern classic that rewards patience, headphones, and repeated listens. It’s not background music — it’s a whole world.

Coheed and Cambria – The Afterman: Ascension + Descension (Deluxe Vinyl Edition)
When split across deluxe triple vinyl, this sci-fi prog saga becomes even more cinematic. Conceptual rock operas never sounded so polished, punchy, or passionate.

Dream Theater – The Astonishing
A rock opera told over 34 tracks and three LPs. Dystopian themes? Check. Symphonic arrangements? Absolutely. Guitars that sound like they’re powered by AI? You bet. This is prog-metal for the maximum-effort crowd.

The Grateful Dead – Europe ’72
You can’t talk triple albums without The Dead. Europe ’72 bottles up the magic of their legendary tour with pristine sound, crowd energy, and jam sessions that go wherever they feel like. This, my friends, is what you call a psychedelic journey.

Peter Gabriel – Rated PG + Flotsam and Jetsam + Growing Up Live (vinyl box set)
Okay, it’s technically a compilation of three LPs, but if you want triple album vibes with cinematic flair, Gabriel’s songbook of soundtrack cuts, rarities, and stunning live performances delivers in spades.

5 Surprising Facts About Bill Withers’ ‘Just As I Am’

Eric Alper
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5 Surprising Facts About Bill Withers’ ‘Just As I Am’

Bill Withers didn’t enter the music world like most stars. At 31, he was still working in a factory making airplane toilets when he released his debut album Just As I Am in 1971. No hype, no label grooming—just pure, heartfelt songwriting, powered by one of the most honest voices soul music has ever known. With hits like “Ain’t No Sunshine” and “Grandma’s Hands,” the album became a quiet storm of emotion and groove. But beyond the singles lies a goldmine of stories, studio magic, and grit that made this debut unforgettable.

1. “Ain’t No Sunshine” Was Almost Just a B-Side
Yep, it’s true. One of the most iconic soul songs of all time almost never got its spotlight. “Ain’t No Sunshine” was originally the B-side to a track called “Harlem,” but radio DJs flipped the script. Withers’ emotionally stripped-down performance and unforgettable 26 “I know”s won out, catapulting the song to #3 on the Billboard Hot 100. It turns out when you’ve got a timeless groove and Booker T. Jones behind the boards, magic finds its way—A-side or not.

2. The Album Cover Was Shot Outside the Factory Where He Worked
That now-famous photo of Withers in jeans, yellow T-shirt, and holding a lunchbox? That wasn’t a fashion statement—it was real life. Taken by photographer Norbert Jobst, the shot captures Withers outside the airplane toilet factory where he worked at the time. He hadn’t yet quit his day job, and didn’t think he would need to. Just As I Am was about honesty. And that lunchbox? Probably the most soulful prop in album cover history.

3. Booker T. Jones Brought the Dream Team
Withers may have been new to the music business, but he was in very good hands. Just As I Am was produced and arranged by the legendary Booker T. Jones, who brought along Al Jackson Jr. and Donald “Duck” Dunn from Booker T. & the M.G.’s. Guitar duties? A young Stephen Stills. The band tracked the album live, with Withers standing nervously in the middle of seasoned pros—and still stealing the show. Talk about your first day on the job.

4. “Grandma’s Hands” Was Pure Autobiography
“Grandma’s Hands” was a spiritual snapshot. Inspired by Withers’ grandmother Lula, the track honors the kind of tough, sweet love that only a Black Southern matriarch can deliver. Lula’s influence stayed with him forever, and you can feel it in every line. The song was so deeply personal, his family reimagined it as a children’s picture book years later. If “Ain’t No Sunshine” was universal heartbreak, “Grandma’s Hands” was Withers’ soul in verse.

5. The “I Know” Refrain Almost Didn’t Happen
Withers originally planned to write full lyrics for the part of “Ain’t No Sunshine” where he famously repeats “I know” 26 times. But the musicians convinced him to leave it raw. “I was just a factory worker—they said keep it, so I did,” he later recalled. That hypnotic repetition ended up being one of the most iconic parts of the song, proving once again that sometimes the best writing is knowing when not to write. It’s minimalism with maximum soul.

Just As I Am was a declaration. Bill Withers didn’t need glitz, gimmicks, or PR spin. He just needed a microphone, a groove, and the truth. Over 50 years later, the songs still speak for themselves—quietly, powerfully, and with a kind of honesty that feels more vital now than ever. Whether you’re hearing it for the first time or the hundredth, the album still has that thing: a little piece of heaven, straight from Grandma’s hands.

5 Surprising Facts About Neil Young’s ‘Tonight’s the Night’

Eric Alper
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5 Surprising Facts About Neil Young’s ‘Tonight’s the Night’

Neil Young’s Tonight’s the Night is a haunted house of grief, regret, and raw truth. Recorded in 1973 but not released until 1975, it marked the closing chapter of his “Ditch Trilogy” and a complete departure from the polished success of Harvest. Fueled by the deaths of close friends Danny Whitten and Bruce Berry, the album is often called Neil’s darkest—but also one of his most honest. Beneath the tequila, distortion, and cracked vocals lies a deeply human document of mourning and survival. And while fans and critics continue to revisit it nearly 50 years later, there are still layers to uncover.

1. It Was Almost Too Raw To Release
Before Tonight’s the Night ever reached our turntables in 1975, Neil Young shelved an even darker version of the album. The original had just nine songs, surrounded by eerie between-track conversations—like a wake caught on tape. So raw it felt like the band might not make it to morning. When David Briggs rediscovered this version years later, he called it “unrelenting.” Even Young said it felt like someone grabbing you by the throat. The released version? Still stark—but softened ever so slightly by tracks like “Borrowed Tune” and “Lookout Joe.”

2. The Album Was Mixed and Recorded Like a Live Wake
Forget fancy studio trickery. Young and his crew knocked down walls at S.I.R. Studios in Hollywood, built a makeshift recording rig, and tracked the album live—often starting around midnight. With tequila, pool games, and a cloud of grief in the air, they played as if conjuring ghosts. Ben Keith, Nils Lofgren, Ralph Molina, Billy Talbot—these weren’t just musicians, they were mourners. The sound is wild, uneven, aching—and entirely intentional. Neil even sang off-mic sometimes, forcing the engineer to crank the fader just to capture the emotion.

3. Joni Mitchell Sang Funkier Than Ever—and You Can’t Hear It
During the Tonight’s the Night sessions, Joni Mitchell dropped by and joined in on a version of her then-new song “Raised on Robbery.” According to Neil, it was the “funkiest” and “most revealing” version she ever did. So why haven’t we heard it? Because Joni refused to release it, even though Neil has been raving about it ever since. In his words, “It kicks ass… What the fuck was that about?” One of those legendary bootleg moments that may never surface—but we keep hoping.

4. The Glitter Insert Is a Myth…Or Is It?
According to Neil, early vinyl copies of Tonight’s the Night included a packet of glitter inside—“our Bowie statement”—meant to spill everywhere as you removed the LP. But here’s the mystery: no one, not even archivist Joel Bernstein, has found a confirmed copy with glitter intact. It may be rock’s version of Bigfoot. What did make it into some copies? A black-and-white label instead of Reprise’s signature orange, a cryptic suicide note signed “Waterface,” and a Dutch concert review printed entirely in Dutch. Confused? Good. That was the point.

5. Homegrown Was Supposed to Come Out Instead
Neil Young was all set to release Homegrown—a gentler, more radio-friendly album—until one fateful night at the Chateau Marmont. While playing the album for Rick Danko of The Band, they decided to throw Tonight’s the Night on the reel too. “What the hell is THAT?” Danko asked. “You ought to put THAT out!” And just like that, Neil pivoted. Tonight’s the Night was released instead—sending critics and fans into a tailspin, and reaffirming that Neil would always follow the feel, not the formula.

Tonight’s the Night may have been born out of loss, but its impact is pure presence. It captures the sound of someone refusing to look away—of an artist laying his soul bare in real time. From buried outtakes to mythical glitter inserts, from whispered tributes to live-wire breakdowns, it remains one of the most courageous records in rock history. And if you’re lucky enough to hear it late at night, alone and wide open, it just might tell you something you didn’t know about yourself.

Apply Now to Official Showcases at FAI 2026

Eric Alper
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Apply Now to Official Showcases at FAI 2026

Dreaming of getting your music in front of agents, DJs, labels, venues, publicists, and festival bookers from around the world? Want to play your heart out and have it actually lead somewhere? Here’s your shot: Official Showcase Applications are now open for Folk Alliance International 2026, happening February at the Sheraton New Orleans Hotel.

This is the global gathering for the folk music world—where booking agents meet bands, publicists scout clients, festivals plan their next season, and artists find their people.

Every Official Showcase happens on a full production stage at the host hotel, in front of hundreds of the people who shape this industry. These aren’t random bar gigs. These are career-building moments. And yes—people get signed, booked, and discovered at FAI every year.

🎤 APPLICATION DEADLINE: JUNE 6, 2025 at 11:59PM CT
📝 ARTISTS ANNOUNCED: September 8, 2025
🎉 APPLY HERE: folkconference.org/showcases

Want the best shot at getting selected? Here’s what you’ll need:

  • Bio (keep it tight—50 words, third-person)

  • 2 high-res square photos (750px, 300dpi)

  • 1–2 audio links (no downloads or Dropbox, please!)

  • 1 live video performance link

  • Stage plot (.pdf)

  • Band member names and roles

  • Key press coverage

  • Most significant awards or nominations

  • And yes—your best touring/marketing plan

FAI Members pay just $30 to apply. Non-members? $60. (So maybe now’s a good time to join?)

And if you want help making your application shine, watch the webinar: Submitting an Outstanding Showcase Application. It’s got tips from FAI’s own Jerod Rivers, Showcase Scotland’s Lisa Whytock, and SXSW’s Nicole Roman-Johnston. All killer, no filler.

So. If you’re serious about building a career in folk, roots, Americana, or any music grounded in storytelling and soul—this is the room you want to be in. And this is how you get in it.

Apply now. Tell your story. Play your song. FAI 2026 is calling.

DEVO Announces Fine Art Print Series and Meet-and-Greet Event at Toronto’s Brian Liss Gallery

Eric Alper
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DEVO Announces Fine Art Print Series and Meet-and-Greet Event at Toronto’s Brian Liss Gallery

DEVO continues to celebrate 50 years of de-evolution on tour this spring, summer, and fall of 2025. In honor of these legendary live shows, DEVO Fine Art Prints is activating a hyper-limited art convergence in select cities. Coordinated with DEVO’s concerts, The Liss Gallery in Toronto (112 Cumberland Street) will host an exclusive meet-and-greet reception on June 29 with the original DEVO band members, the day before or after the band’s scheduled performance. Please RSVP to brianliss@lissgallery.com.

This event is reserved for those who have purchased—or plan to purchase—a print. Please note: the band will not be available for meet-and-greets at the event unless a fine art print purchase has been made.

DEVO will appear in person to present their fine art photography: a curated, strictly limited-edition portfolio of five rare or never-before-seen DEVO images captured by world-class photographers Neal Preston, Ebet Roberts, Allan Tannenbaum, and Richard Alden Peterson. Prints are available at the galleries listed at devoportfolio.com.

What makes these prints essential for the DEVOlutionary Army of savvy collectors?

  • Museum-quality craftsmanship and prescient visual history

  • Hand-signed and numbered with no digital replicas

  • Certificate of Authenticity signed by DEVO

  • Truly limited quantities – once they’re gone, they’re gone

  • A rare opportunity to own an artifact of ultra-sonic history

Each print purchase includes an exclusive invitation to the gallery meet-and-greet. A chance to have your photo taken with DEVO—perhaps even beside your newly acquired iconic art print.

This is an unprecedented opportunity for collectors and fans alike. Stay tuned for location-specific updates.

The Tragically Hip Top Forty Countdown Celebrates Ron MacLean Appearance With New Episode Out Now

Eric Alper
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The Tragically Hip Top Forty Countdown Celebrates Ron MacLean Appearance With New Episode Out Now

If you’re a fan of The Tragically Hip, chances are you’ve already been swept up into the whirlwind of nostalgia, fandom, and stories that is The Tragically Hip Top Forty Countdown. Hosted by JD Dew, this podcast has taken the Hipverse by storm, reaching #1 on Apple Podcasts Music Commentary in Canada, and charting in over 10 countries. Out now, JD drops one of the most anticipated episodes yet—an in-depth conversation with legendary broadcaster and Hip fan Ron MacLean, just in time for the kickoff of the NHL playoffs. Listen to it on Red Circle, Spotify or Apple.

This isn’t just another episode. This is a moment. Ron MacLean—who was there in the trenches of Canadian culture, calling the games, quoting lyrics, and wearing his love for the Hip on his sleeve—joins JD for a candid conversation about the band’s legacy, personal memories of Gord Downie, and what it means to be Canadian in 2025. MacLean’s appearance adds a powerful new layer to a podcast already praised as “articulate,” “riveting,” and “the ultimate podcast for Hip fans.”

The Tragically Hip Top Forty Countdown is a passion project born from grief, memory, and celebration. Dedicated to JD’s friend Matthew Rona, who passed away from ALS in 2024, the podcast also serves as the anchor for a major fundraiser this fall—culminating in a live finale show at The Rec Room Roundhouse in Toronto on October 4, featuring The Strictly Hip with all proceeds benefiting the ALS Society of Canada.

Each episode features fans sharing their personal stories, revealing how these 40 iconic Hip tracks helped soundtrack their lives. Whether it’s hearing from super-fans coast-to-coast or revisiting the glory of “Blow at High Dough,” “Wheat Kings,” or “Nautical Disaster,” listeners return weekly not just for rankings—but for community.

JD has created more than a countdown—he’s curated a collective mixtape of Canadian memory. The Hip may be gone from the stage, but through the TTH Top 40, they’re still playing, louder than ever.

Tune in Monday, April 21, for the exclusive Ron MacLean episode wherever you get your podcasts. As MacLean himself might say—this one’s for the fans.

New Toronto Jazz Festival Shines Spotlight on Local Legends and Rising Stars

Eric Alper
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New Toronto Jazz Festival Shines Spotlight on Local Legends and Rising Stars

Toronto has a brand-new jazz festival and it’s all about celebrating the city’s richly diverse local talent pool. The JazzInToronto Community Celebration will take place throughout the downtown core May 30, 31 and June 1st. Produced by musicians Lina Welch and Ori Dagan – who collectively run JazzInToronto, a not-for-profit organization dedicated to promoting live music – the festival is a young grassroots affair fueled by a passion for community.

“When it comes to the combination of talent and diversity, there is probably no place in the world quite as vibrant as Toronto,” says JazzInToronto’s artistic director Ori Dagan. “The hardest part about programming a festival like this is narrowing it down, as there are so many local musicians deserving of attention.”

From Swing and Bebop to Soul and R&B, rising stars to veteran virtuosos, the weekend will feature something for everyone.

On Friday, May 30, the festival will open with FREE concerts presented by the St. Lawrence Market District on Market Street. Recently returned from a successful tour of New Orleans, young sensation Trombone Charlotte will breathe new life into early jazz classics to launch the festival at 5pm, followed at 7pm by the hot Afro-Cuban sounds of an exhilarating quartet led by Lady Son aka Yeti Ajasin on vocals and percussion. The evening will conclude one block west with a Tap Dance Jazz Jam event at C’est What (67 Front St E) that will feature an opening set by host Cori Giannotta – free for jammers, the event is sure to be an impressive showcase for the tightly-knit community of Toronto tap dance talent.

On Saturday May 31st at 11:30am, the festival will continue its showcasing of world music with the Ona Ensemble at The Rex Hotel (194 Queen St W); led by Olivia Esther, the unique Canadian-Brazilian chamber jazz ensemble features two French horns, bassoon, reeds and a rhythm section performing choro, samba and jazz. Moving slightly north to Yorkville’s Liss Gallery (112 Cumberland St), Saturday afternoon will feature an intimate concert at 3:30pm by flamenco guitar master Roger Scannura. At 8pm, the festival’s flagship concert, “Overjoyed: Celebrating 75 Years of Stevie Wonder” will take place inside the TD Music Hall in the newly renovated Massey Hall (178 Victoria St). For this exciting evening honouring the iconic singer-songwriter, award-winning pianist Michael Shand will lead an 8-piece band with vocalists Selena Evangeline, Queen Mary the Artist, Robert Ball and Chris Rouse.

“For me, Stevie is the most important artist that we have ever encountered,” says Michael Shand. “He has inspired us all with his fusion of Funk, Soul, R&B, Jazz, not to mention his vocal acrobatics – Stevie really is the embodiment of a genius musician.” The night will conclude with a jam session led by University of Toronto jazz student Selena Savage who is already appearing regularly at venues around the city as bandleader, arranger, trombonist and vocalist.

The final day of the festival, Sunday June 1st will start at 11am at The Rex Hotel with a masterclass by JUNO-nominated pianist Mark Eisenman who will inspire young pianists by sharing some of his wisdom about the art accompanying vocalists. In a nod to the beginning of Pride Month, from 2:00-4:30pm the same venue will host an album launch for “Alex Samaras Meets Judy Garland,” featuring the stunning vocals of Samaras in a heartfelt tribute to the iconic artist with the bare accompaniment of Steven Noronha on piano and David French on saxophone.

To conclude the festival, the elegant Jazz Bistro (251 Victoria Street) will host a very special concert reuniting Order of Canada member and 5-time JUNO winner Jane Bunnett with her musical kindred spirit, acclaimed avant-garde pianist Marilyn Lerner. The two started their jazz journey as a duo in 1977 and although their career have taken them in separate directions, they have remained close friends since then. For this special reunion, Bunnett and Lerner will share some of classics Ellington, Strayhorn and Monk standards which they learned together nearly five decades ago.

Tickets for the festival can be purchased at www.jazzintoronto.ca

Holly Cole Releases “Moon River” Video And Announces New Tour Dates Across Canada

Eric Alper
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Holly Cole Releases “Moon River” Video And Announces New Tour Dates Across Canada

Legendary East Coast Canadian songstress Holly Cole has released a stunning new music video for her rendition of the classic “Moon River.” The dreamlike visuals explore a lunar theme that is interwoven throughout the track and album. Dark Moon is available now via Rompus Room Records / Universal Music Canada on CD, 180-gram black vinyl, standard, Hi-Res digital + ATMOS.

Holly Cole started the year with a series of eight sold-out dates at the prestigious BluNote in Tokyo, Japan, and she has just announced new tour dates that will stretch across Canada throughout the rest of 2025. Below is a list of scheduled stops including the famed Montreal Jazz Festival in support of Dark Moon.

For her latest album Dark Moon, Holly uniquely reshapes traditional Jazz, Pop and Country standards including reimagined versions of “No Moon At All,” “Steppin’ Out with My Baby,” “Walk Away Renee,” and “Kiss Me Quick,” originally covered by Elvis Presley.

Holly Cole is a renowned Canadian / International jazz singer who began her career in 1989 with the release of her 4-song EP ‘Christmas Blues’ under indie label Alert Music, followed by her debut album ‘Girl Talk’ in 1990. In 1992, she signed with Blue Note and released ‘Blame It on My Youth’ which achieved Platinum + sales in Canada and a number 1 charted single and album in Japan.

The next album ‘Temptation’ which included her hit rendition of Johnny Nash’s, “I Can See Clearly Now” cemented her success. With 12 previous albums to her name, Cole has achieved multi-platinum sales and received numerous awards, including 2 Juno Awards (8 nominations) and 2 Gemini Awards. She has also won two Japanese Grand Prix Gold Disc Awards and the prestigious Ella Fitzgerald Award from the Montreal Jazz Festival, and in 2014, she was awarded an honorary doctorate from Queen’s University.

In 2019, Holly reunited the original Holly Cole Trio to celebrate the 40th anniversary of the Festival International de Jazz de Montreal, and those special shows were recorded and became the 2021 album ‘Montreal’. In Christmas 2022, Cole released a remastered compilation combining her holiday releases, titled anew ‘Baby It’s Cold Outside and I Have the Christmas Blues.’

TOUR DATES:

• 7/2/2025 Montréal, QC Théâtre Jean Duceppe – Place des Arts
• 7/5/2025 Orillia, ON Tudhope Park *Mariposa Folk Festival
• 9/13/2025 Nanaimo, BC The Port Theatre
• 9/14/2025 Vancouver, BC Vogue Theatre
• 9/16/2025 Calgary, AB Bella Concert Hall
• 9/17/2025 Sherwood Park, AB Festival Place
• 9/20/2025 Winnipeg, MB Club Regent Event Centre

Toronto Alt.Rocker Jax Turcotte Makes Powerful Statement With Debut Single “Sincerely, Once Beloved”

Eric Alper
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Toronto Alt.Rocker Jax Turcotte Makes Powerful Statement With Debut Single “Sincerely, Once Beloved”

Toronto, ON alternative singer-songwriter Jax Turcotte has released his debut single, “Sincerely, Once Beloved,” an intimate yet expansive ballad written as a farewell to guilt, grief, and everything that no longer serves him. Blending vulnerable lyricism with stripped-down instrumentation and a voice that sounds like both a whisper and a declaration, Turcotte is carving out a lane all his own—equal parts Phoebe Bridgers, Radiohead, and the emotional resonance of early 2000s indie rock.

The single is released via The Singer’s Company and marks a bold new chapter for the 18-year-old artist. Written during his final year of high school, “Sincerely, Once Beloved” started as a personal journal entry—an outlet for processing change, confidence, and clarity. It quickly became something more. “This team’s belief in me promoted my confidence and growth as a musician,” says Turcotte. “Their expertise greatly aided me in creating a fully-fledged record from what was a journal entry.”

“Sincerely, Once Beloved” was written as a “sign off” to all of the negativity I had been allowing to affect me: others’ opinions, self-doubt, guilt,” Turcotte explains. “It’s the clarity that comes with recovering from hard times in your life.”

Produced by Roy Hamilton III and Matt Fasullo, with additional mixing by Joe Carolus and mastering by Noah Mintz (Broken Social Scene, The Constantines), the single showcases Turcotte’s artistry and multi-instrumental talent. He performs guitar, vocals, hand percussion, and more on the track.

Lyrically, it’s a poetic burn letter—and a love letter to oneself. “It’s a letter I wished I had sent to myself and to anyone who has ever willfully misunderstood me,” says Turcotte. That authenticity rings out in the refrain:

“Sincerely, a dreamer / Sincerely, a lover / Sincerely, a mourning dove / Sincerely, once beloved”

Turcotte’s gift is in transforming deeply personal thoughts into universal truths. The imagery is raw, but never bitter—there’s grace in his vulnerability. It’s the kind of songwriting that meets listeners exactly where they are, whether they’re in the middle of healing or finally stepping out of the fog. The track balances emotional catharsis with melodic restraint, showcasing a young artist with an old soul and a sharp sense of self.

Raised in Toronto, Jax’s musical upbringing included everything from James Blake and Florence Welch to Sufjan Stevens and Brandi Carlile. But “Sincerely, Once Beloved” is no imitation—it’s an arrival. With this track, Turcotte introduces himself not as an echo of his influences, but as a distinct voice within the new generation of emotionally intelligent singer-songwriters. His classical training, combined with a natural gift for lyricism, gives his music both weight and warmth.

The song has already begun to connect with fans who describe it as “a mirror” and “a hug disguised as a heartbreak.” Whether played through headphones on a rainy walk or through speakers at the end of a long day, “Sincerely, Once Beloved” feels less like a debut and more like a companion.

Turcotte’s goal remains refreshingly clear: “The goal has always been to express myself in a way that feels authentic. If someone connects with it, and I’ve made even the smallest difference—then I’ve done what I came here to do.”

With more music and live performances on the way, “Sincerely, Once Beloved” is a debut, sure, and also an invitation into Jax Turcotte’s world.

Tom Wilson’s New Exhibition ‘Blood Memory’ to Open at Hamilton’s Beckett Fine Art in June 2025

Eric Alper
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Tom Wilson’s New Exhibition ‘Blood Memory’ to Open at Hamilton’s Beckett Fine Art in June 2025

Tom Wilson has never been one to stay in a single lane. He is a JUNO Award-winning musician, a bestselling author, a playwright, a Member of the Order of Canada, and an advocate for Indigenous visibility. He is also, without question, one of Canada’s most powerful visual artists. His latest solo exhibition, Blood Memory, opens at Beckett Fine Art in Hamilton, Ontario, from June 5 to 28, 2025, with a public reception on June 7 from 1 to 4 p.m. This is not just an art show. It is a reckoning, a reflection, and a revelation.

Following the sold-out success of his 2024 solo exhibition at Beckett Fine Art—a rare achievement for any Canadian artist—Wilson returns with a new body of work that confronts history and memory with the same intensity he brings to his music and writing. Blood Memory draws on Wilson’s journey of identity, heritage, and rediscovery, themes that have underscored much of his creative output since the release of his memoir Beautiful Scars.

The title of the exhibition, Blood Memory, speaks to the ancestral knowledge that lives in the body and spirit. Through vivid oil paintings, Wilson explores the lasting echoes of his Mohawk heritage, and the complicated beauty of reclaiming one’s story. The exhibition will feature new works, as well as select rare early paintings.

The timing of the exhibition is especially meaningful. June marks National Indigenous People’s Day in Canada, and Wilson’s work offers a deeply personal perspective on what it means to carry Indigenous identity forward through art, language, and storytelling. Visitors are encouraged to speak with Wilson at the opening reception about his artistic process, his thoughts on cultural memory, and what lies ahead.

This exhibition comes during a time of continued national recognition for Wilson. In 2024, he was shortlisted for the Playwrights Guild of Canada’s Tom Hendry Award for Beautiful Scars: The Musical. He received an honorary Doctor of Laws degree from McMaster University and the Lifetime Achievement Award in Music at the International Peace Festival, both in the Fall of 2024. Coinciding with these accolades, Wilson has released a new version of his song “Death Row Love Affair”, an alternative take that serves as a preview of a forthcoming album. The song, which was a powerful closer in the stage musical Beautiful Scars, has been reimagined as a haunting, introspective track produced by Gary Furniss, with contributions from Thompson Wilson, Jesse O’Brien, and Aaron Goldstein.

More than a musician or a writer or a painter, Tom Wilson is a storyteller across mediums. With Blood Memory, he invites audiences to stand still, look closely, and feel the weight and wonder of stories that have waited too long to be told.

Blood Memory runs from June 5 to 28, 2025, at Beckett Fine Art, located at 196 Locke Street South in Hamilton, Ontario. The opening reception will be held on Saturday, June 7, from 1 to 4 p.m. A sample of the artwork will be available online at www.beckettfineart.com starting April 10.

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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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