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Martin Guitar and Billy Strings Team Up for Signature D-28 and X Series Models

Eric Alper
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Martin Guitar and Billy Strings Team Up for Signature D-28 and X Series Models

Martin Guitar is thrilled to unveil two all-new signature models at The 2025 NAMM Show—the D-28 Billy Strings and the D-X2E Billy Strings.

Joining other new releases from Martin, including the refreshed Standard Series, D-3 Millionth milestone acoustics, and more, these guitars are crafted to capture the distinctive sound, style, and electrifying energy of GRAMMY-winning artist Billy Strings. They represent a collaboration that combines Martin’s unparalleled craftsmanship with the innovative artistry of a musician who transcends genre while honoring bluegrass traditions.

“If you think of just the word ‘guitar,’ I think of a Martin D-28,” says Billy. “Some people might think of a Stratocaster or a Les Paul, but to me, it’s just so American—it’s like baseball or something.

“They all have this overall thing that is ‘the Martin sound,’ and that is the sound that has captivated bluegrass guitarists for as long as it’s been around—and every other genre as well. But specifically, these Dreadnought guitars for bluegrass music—you gotta have one.”

These instruments and more will be on display at The 2025 NAMM Show in Anaheim, California, through Saturday, January 25.

D-28 BILLY STRINGS

Inspired by Billy’s prized 1940 D-28, the Martin D-28 Billy Strings brings a modern twist to a classic pre-war design, incorporating features tailored to Billy’s electrifying playing style.

This signature Dreadnought showcases a unique 25″ scale length, reducing string tension for fast, intricate playing and expressive bends—perfectly suited for Billy’s rapid-fire licks. With a custom nut width that’s slightly wider than his pre-war Martin and a modified low oval satin neck, it offers enhanced comfort and speed, ideal for players who crave agility up and down the neck.

The solid East Indian rosewood back and sides and spruce top deliver a full, resonant tone with rich bass, while the bold herringbone trim, antique toner, and antique white binding add vintage flair. Nickel enclosed gear tuners, exclusive to Martin, and an ebony fingerboard with abalone diamond and square inlay round out the guitar’s looks and performance.

It’s an ideal balance of traditional craftsmanship and modern playability, much like Billy’s genre-defying style. Both signature models feature a custom paper label with his pre-printed signature and graphic.

D-X2E BILLY STRINGS

The Martin D-X2E Billy Strings takes inspiration from Billy’s love for his pre-war D-28 while offering a more accessible option for fans and players alike.

It features the same unique 25″ scale length and custom nut width as its high-end counterpart, making it easier to play fast, intricate lines while maintaining a comfortable feel. Built with durable Brazilian rosewood-patterned HPL back and sides and a solid spruce top, this Dreadnought delivers a powerful, booming tone that’s perfect for both traditional and modern acoustic styles.

Nickel open gear tuners, an ebony fingerboard with faux abalone inlay, and a style 28 rosette add a classic touch, while Martin E1 electronics and a built-in tuner ensure it’s ready for the stage. Complete with a hemp softshell case, the D-X2E Billy Strings is a rugged, reliable instrument that reflects his passion for pushing boundaries and blending genres.

“There’s so many kids out there that really want to learn how to pick, and they need access to a good instrument that they don’t have to take out a loan for,” says Billy. “That was important to me—to make sure that there was a guitar that people could get their hands on.

“To have a Martin that you can actually acquire and learn how to pick on… I mean, that’s like the first one I got, and it’s great. It’s a fully badass guitar.”

How To Book Music Festivals: 5 Essentials Every Artist Needs to Know

Eric Alper
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How To Book Music Festivals: 5 Essentials Every Artist Needs to Know

Getting booked at a music festival isn’t just about talent—it’s about showing festivals why you’re the perfect act for their stage. Whether you’re dreaming of your first local gig or aiming for the big leagues, these five points will help you stand out and secure your spot.

1. Master Your Live Performance

Festivals are all about live energy, so before you pitch, make sure your live show is unforgettable. Rehearse until your set feels effortless, and hit smaller stages to build your confidence. A polished, high-energy performance will make festival organizers take notice—and if your show has a unique twist, even better. Remember, festivals aren’t just booking artists; they’re curating experiences, so make sure you deliver one that audiences will rave about.

2. Create Compelling Live Videos

A killer live performance video is your calling card. Festival organizers want to see how you engage a crowd and sound on stage, so showcase your best moments with clear audio and dynamic visuals. Capture the energy of your audience if possible—nothing says “book me” like a room full of fans having the time of their lives. If you can’t record at a gig, even an acoustic session or rehearsal clip can help, as long as it’s professional and captivating.

3. Define Your Musical Identity

Festivals want artists with a clear, defined brand that sets them apart. Your music, visuals, and story should all tell the same cohesive narrative. Are you a soulful storyteller or a high-energy party starter? Whatever your style, own it fully. A strong identity makes it easier for festivals to see how you fit into their lineup—and it helps fans connect with you on a deeper level.

4. Build Momentum Before You Pitch

Festivals want to book acts that bring buzz, whether it’s through streaming numbers, press coverage, or social media engagement. Start by building your presence online and connecting with fans consistently. Even small wins, like a local press mention or a viral moment, can make you stand out. The more excitement you generate around your music, the easier it is to show festivals that you’ll bring energy and audiences to their event.

5. Pitch with Precision and Professionalism

Your pitch should be concise, professional, and tailored to the festival. Include links to your music, a standout live video, a short bio, and any press highlights or performance history. Festival organizers are busy, so make your materials easy to access and compelling to read. Bonus tip: If you can pitch a unique idea—like a collaboration, surprise guest, or special performance moment—you’ll stand out even more.

Booking your first music festival might take time, but the effort is worth it. Focus on preparation, presentation, and building relationships in the industry. When you finally step on that stage, the audience will remember the magic you brought—and so will the festival organizers.

For all your publicity needs, feel free to email Eric@ThatEricAlper.com or call me at 647-971-3742. With 25+ years of experience and a deep passion for connecting artists to audiences, I’m here to help you make an impact.

5 Surprising Facts About David Bowie’s “Blackstar”

Eric Alper
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5 Surprising Facts About David Bowie’s “Blackstar”

Released on Bowie’s 69th birthday, January 8, 2016, Blackstar stands as a monumental, enigmatic farewell to an unparalleled career. Crafted in secrecy with Tony Visconti and a group of NYC jazz musicians, the album is a fusion of art rock and experimental jazz, marked by themes of mortality, legacy, and artistic freedom. Here are five fascinating details about Blackstar that add to its enduring mystique.

1. Recorded in Secrecy with Jazz Musicians
Bowie intentionally veered away from his usual band for Blackstar, recruiting saxophonist Donny McCaslin’s jazz quartet. Tony Visconti explained the decision, saying that jazz musicians playing rock would “turn it upside down.” The chemistry of the group—Mark Guiliana on drums, Tim Lefebvre on bass, and Jason Lindner on piano—infused the album with a dynamic blend of spontaneity and precision. This unorthodox choice added a fresh, avant-garde texture to Bowie’s final work.

2. Influenced by Kendrick Lamar and Death Grips
While crafting Blackstar, Bowie drew inspiration from unexpected sources, including Kendrick Lamar’s To Pimp a Butterfly and the experimental sounds of Death Grips. Though the album doesn’t mimic their styles, Bowie admired their genre-defying approach and sought to bring a similar openness to his own music. The result is a record that resists easy categorization, blending jazz, hip-hop rhythms, and art rock seamlessly.

3. A Vinyl with Hidden Surprises
The Blackstar vinyl edition holds secrets that fans continue to uncover. Most notably, when the black paper sleeve is removed and held up to light, it reveals a starfield pattern—a subtle nod to Bowie’s cosmic legacy. Designer Jonathan Barnbrook hinted that there are more surprises in the artwork, adding to the mystique of Bowie’s final visual statement.

4. “Lazarus” as a Swan Song
“Lazarus,” one of the album’s standout tracks, is often interpreted as Bowie’s farewell. Lines like “Look up here, I’m in heaven” and the haunting music video, which depicts Bowie in a hospital bed, take on profound meaning in the context of his passing. The song also features in Bowie’s off-Broadway musical of the same name, linking his theatrical and musical worlds in one final bow.

5. A Self-Referential Goodbye
The closing track, “I Can’t Give Everything Away,” directly references Bowie’s own career. The harmonica solo recalls his 1977 track “A New Career in a New Town,” while the lyrics explore themes of revelation and mystery. Bowie grapples with his own legacy, leaving fans with a parting message both cryptic and deeply emotional.

Blackstar is a carefully constructed final act from one of music’s most innovative artists. Bowie used the record to explore his mortality, stretch artistic boundaries, and offer a gift to fans who had followed his career for decades. It’s a haunting, beautiful swan song that cements his place as a creative force who was always one step ahead of his time.

5 Surprising Facts About Rihanna’s “Anti”

Eric Alper
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5 Surprising Facts About Rihanna’s “Anti”

Released on January 28, 2016,Rihanna’s genre-defying Anti flipped expectations of what pop music could be and marked a pivotal moment in her career. With its bold artistic risks, introspective themes, and masterful production, Anti has plenty of lesser-known details that make this album extraordinary. Here are five facts about Anti that you might not know.

  • The Tame Impala Connection:
    Rihanna’s “Same Ol’ Mistakes” is a faithful reimagining of Tame Impala’s “New Person, Same Old Mistakes” from their Currents album. Instead of transforming the track, Rihanna kept its dreamy psychedelic essence intact, choosing to enhance rather than alter. This decision shows her respect for the original while adding her unmistakable vocal signature. Tame Impala’s Kevin Parker openly praised her take, calling it a perfect fit for her voice and artistic style.
  • Whiskey and Vulnerability:
    The ballad “Higher” was born out of a late-night studio session fueled by whiskey. Rihanna herself referred to the track as “a drunk voicemail,” and the rawness of her delivery is palpable. Recorded in the early hours of the morning, the song captures a kind of emotional honesty that feels both unpolished and deeply human. It’s a standout moment of intimacy on an album filled with experimental production.
  • A Record-Breaking Hit:
    “Work,” the lead single from Anti, became a cultural phenomenon upon its release. With its hypnotic dancehall rhythm and minimalist production, the track dominated the Billboard Hot 100 for nine weeks. It helped Rihanna achieve her 14th number-one hit, surpassing Michael Jackson in the process. The song’s success reaffirmed Rihanna’s ability to effortlessly blend Caribbean influences with global pop appeal.
  • A Braille-Infused Cover:
    The Anti album cover, designed by Roy Nachum, is as layered as the music it represents. Featuring a childhood photo of Rihanna with a crown covering her eyes, the artwork also includes a poem in Braille. The inclusion of Braille reflects themes of perception and the idea of being misunderstood, a recurring motif in both the album’s lyrics and Rihanna’s career. It’s a visual statement that invites deeper interpretation.
  • Genre-Defying Eclecticism:
    One of Anti’s greatest strengths is its refusal to be boxed into a single genre. The album effortlessly weaves together elements of dancehall, doo-wop, trap, and psychedelic soul. Tracks like “Love on the Brain” nod to 1950s balladry, while songs like “Needed Me” lean into moody, contemporary trap. This diversity not only showcases Rihanna’s vocal range but also her willingness to challenge mainstream expectations.

Anti remains a landmark album that balances experimentation with emotional depth, firmly establishing Rihanna as an artist who thrives on breaking boundaries.

Jay Douglas Documentary Play It Loud! – How Toronto Got Soul Set For VIFF Premiere And Knowledge Network Airings

Eric Alper
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Jay Douglas Documentary Play It Loud! – How Toronto Got Soul Set For VIFF Premiere And Knowledge Network Airings

Exclaim: “An entertaining celebration of one of the key architects of the Toronto sound”

JAZZ FM:  “Beloved Toronto music legend Jay Douglas is finally getting his flowers! Proud to see his story come to life through this film!”

Reggae North: “A landmark event in Canadian music history!”

Sly Dunbar: “The Lou Rawls of Jamaican music”

For much of the late 1960s and early 1970s, the Caribbean, Jamaican and reggae music scene in Toronto was almost unrivaled in North America in terms of quality and performers. Jay Douglas, lead singer of The Cougars and one of the biggest and brightest talents of that time, is the subject of a fantastic new TVO Original documentary entitled Play It Loud! — How Toronto Got Soul. The documentary, directed by Graeme Mathieson, produced by Andrew Munger (Once Were Brothers: Robbie Robertson and The Band), and Executive Produced by Clement Virgo (Brother, The Wire) will be screening with the Director, Producer and Cast at The VIFF on February 7 at 8:30pmPT – tickets on sale here), followed by television airings across British Columbia starting February 27 at 9:00pmPT via the Knowledge Network.

Play It Loud! — How Toronto Got Soul traces Douglas’ life from a young boy in Jamaica to immigrating to Canada in his teenage years and residing in Toronto with a host of other Jamaica-born artists such as Jackie Mittoo, Leroy Sibbles and Wayne McGhie among others. With Toronto becoming a hotbed of Jamaican music, Douglas established himself as the lead singer of The Cougars, a fabulous group who performed a collage of genres (reggae/Caribbean/soul/ska/funk) wherever and whenever they could.

Whether it was the vibrant clubs on Toronto’s Yonge Street during that era or performing in smaller towns in Northern Ontario or Quebec, the group dazzled fans despite little to no airplay or label support aside from appearing on one album entitled Caribana ’67.

Douglas (born Clive Pinnock), described by legendary reggae producer Sly Dunbar as “the Lou Rawls of Jamaican music,” maintained a music career performing on cruise ships, banquets, and clubs long after The Cougars’ heyday. In 2006, after influential hip-hop artists discovered a drum break from McGhie’s song “Dirty Funk,” that time and place in Canadian musical history was resurrected thanks to Jamaica To Toronto: Soul Funk & Reggae 1967-1974, a now legendary compilation issued by Seattle label Light In The Attic which shone the spotlight on the blazing Jamaican music scene, Douglas (a three-time Juno Award nominee), and this magical era. Play It Loud — How Toronto Got Soul takes the journey with Douglas through the highs and lows, in a way akin to the 2012 critically acclaimed documentary Searching For Sugar Man about the rather obscure musician Rodriguez and one man’s search for the artist.

Featuring interviews with Dunbar, vocalist Jackie Richardson, Cadence Weapon (Rollie Pemberton), former MuchMusic host Michael Williams and many others, and the music of Bob Marley, Bo Diddley, James Brown, The Cougars, Wayne McGhie.

The film was funded by TVO, Canada Media Fund, Telefilm, Ontario Creates, Rogers Documentary Fund, Knowledge Network BC and the Hot Docs–Slaight Family Fund.

For an intriguing, intimate look at an incredibly underrated and then underappreciated era in Canadian music, Play It Loud — How Toronto Got Soul will stir your soul to seek out these artists and this incredible sound while shedding light on one of Canada’s most revered musicians.

98º Brings the Heat with New Single “Got U” and Album ‘Full Circle’

Eric Alper
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98º Brings the Heat with New Single “Got U” and Album ‘Full Circle’

98º is back and better than ever with their new single “Got U,” out now, a heartwarming anthem of love, devotion, and connection from their upcoming album Full Circle (May 9th, 2025/ XOXO Entertainment Corp.) Penned by Alex Cantrall (JoJo, Toni Braxton, EXO, SHINee), Carsten Schack (Whitney Houston, 2Pac, Brandy, Usher), Kenneth Karlin (Backstreet Boys, Mary J. Blige, Monica, Sting), and Nick Lachey, the track showcases the group’s signature harmonies and emotional resonance. Produced by Anders Bagge (Celine Dion, Janet Jackson, Madonna, Santana) with polished finishing touches from 5x Grammy Winner, Orlando Calzada (Lady Gaga, One Direction, Beyonce) and mastering by Chris Gehringer (AJR, Dua Lipa, Ed Sheeran, & “APT” by Bruno Mars & Rose), the 27-time Grammy-nominated & 3x winning engineer, “Got U” is a perfect blend of classic 98º and contemporary sophistication.

After two decades of creating unforgettable music, 98º returns with Full Circle, a highly anticipated album that bridges their iconic past with an exciting future. Featuring five brand-new tracks, the album reflects the group’s growth while staying true to the essence that made them pop legends. Collaborations with international sensations Katrina Velarde and Janine Teñoso inject vibrant, dynamic energy into modern pop-soul anthems that fans won’t want to miss.

The album also reimagines five of their biggest megahits, now remastered in stunning 96kHz Stereo and Dolby Atmos, delivering a richer, more immersive listening experience. From soulful ballads to infectious up-tempo tracks, Full Circle is a heartfelt journey through music that celebrates the band’s enduring legacy.

Full Circle is a celebration of connection, nostalgia, and evolution with the group managed by the legendary Johnny Wright and Joe Lilac at Wright Entertainment Group. The title Full Circle symbolizes the group’s journey, bringing their timeless harmonies into the modern era for fans new and old. With their unparalleled vocal blend stronger than ever, 98º proves they are here to stay, creating music that resonates across generations.

98º invites listeners to feel the love, relive the memories, and embrace the future with Full Circle—an album that’s as iconic as their legacy.

Anishinaabe Songwriter Graeme Jonez Blends Roots And Rock in Gritty ‘Ride or Die’

Eric Alper
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Anishinaabe Songwriter Graeme Jonez Blends Roots And Rock in Gritty ‘Ride or Die’

The bikers’ famous credo is that we ride to live and live to ride. But Graeme Jonez wants you to know that it runs deeper than that. His new single, “Ride or Die,” raises the stakes of a life on the road to something truly metaphysical—an irresistible rendezvous with the infinite that’s just a full tank of gas away.

A gutsy, gritty piece of latter-day roots rock, the song is sung from the perspective of a rider who’s surrendered to the call of the “great highway,” trusting it to take him wherever it will. That road might even end in death, but he welcomes the chance to one day learn “the kind of things no living man knows.” In the meantime, he harbors “no worries about tomorrow/’Cause tonight it’s ride or die.”

“Shouldn’t we all think this way?” Jonez asks, by way of explaining the mindset he was in when he wrote the song on a 2023 trip to Mexico. “I mean, everyone dies at some point, and we never know when it’s coming. So why not do things that really make you feel alive while you still can?”

Recorded at Toronto’s The Nelson Room by producer Derek Downham and engineer Tim Foy, “Ride or Die” conveys its message with a sound that’s raw, honest and untamed. It blends the influences of country, blues, folk and rock into a contemporary sound that conjures up the feeling of an exhilarating road trip broken up by contemplative nights around a campfire. Jonez has even thrown in some affectionate nods to the 1960s hot-rod music he grew up with, including a shoutout to Jan & Dean’s infamous “Dead Man’s Curve.”

Painting pictures on record comes naturally to this Anishinaabe/English song stylist, whose skills as a writer and performer depend equally on the storytelling traditions of his birth culture and his personal affinity for vintage folk and blues. His Indigenous background has enabled him to infuse an everyday concept like motorcycle riding with a quasi-spiritual significance with the lyrics “My mama swears we all go to heaven,” he sings in the new single’s opening lines, “but everyone I know just turns to bones and dust.”)

A member of the Sheguiandah First Nation on Manitoulin Island, Jonez is an alumnus of Manitoba Music’s Indigenous Music Residency; since then, he’s received grants from the Toronto Arts Council and Ontario Arts Council, and last year participated in a one-week songwriting residency at the SOCAN LA House. High-profile live gigs have included the ReconciliAction Market (Downie Wenjack), Union Summer (Red Music Rising) and Aga Khan Museum (Indigenous Peoples Week). He made his recorded debut with 2023’s full-length album Creatures & Criminals, giving him a foothold that led to the success of singles “100 Days Deep” (which saw rotation on SiriusXM’s Indigiverse) and “The Flood!” (#1 on the Indigenous Music Countdown and ultimately the Merilainen Music Award winner for Single of the Year).

This year will bring the release of his eagerly anticipated second album, with “Ride or Die” its tantalizing opening salvo. As with all of his music, there’s plenty for us to chew over while we wait.

“‘Ride or Die’ was inspired by the motorcycle lifestyle, but it’s really just about our individual relationship with our own mortality,” he says. “Are we all living the life we want to live? What happens when you die? Are you ready to meet your maker if tomorrow is your last day?”

Maybe. But we’d really like to hear that album first.

Winterfolk XXIII: Celebrating 23 Years of Folk, Blues, and Roots Music in Toronto

Eric Alper
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Winterfolk XXIII: Celebrating 23 Years of Folk, Blues, and Roots Music in Toronto

Winterfolk, Toronto’s beloved annual celebration of folk, blues, and roots music, returns for its 23rd year from February 14–16, 2025, at the iconic Tranzac Club. This year’s festival promises an extraordinary mix of established artists, including Michael Jerome Browne, Dala, Sultans Of String, Donné Roberts, Russell deCarle, Amanda Rheaume, and Tannis Slimmon, alongside emerging talent and community-driven performances, all set to reignite the spirit of live music and inspire audiences of all ages.

Since its inception, Winterfolk has championed the rich traditions of folk, blues, and roots music while offering a platform for emerging voices in the industry. Over the years, the festival has grown from a grassroots effort to a highly respected event that draws over 150 performers and a diverse audience annually. Beyond showcasing exceptional talent, Winterfolk creates opportunities for mentorship, collaboration, and connection within the music community.

The full lineup includes: Amanda Rheaume, Brian Blain, Brian Gladstone, Brian Morgan, Camie, Cathy Anne, D’Arcy Wickham, DALA, Danny Marks, David Newland, Donné Roberts, Glen Hornblast, Harpin’ Norm, Howard Gladstone, Jesse Greene, Jessica Stuart, Ken Whiteley, Laura Fernandez, Lynn Harrison, Lynn Miles, Melanie Peterson, Michael Jerome Browne, Noah Zacharin, Q & A, Robert Priest & the Revelations, Russell deCarle, Shawna Caspi, Sultans of String – Trio, Suzie Vinnick, Tannis Slimmon & Lewis Melville, The Mid-Century Modernes, Tony Quarrington, Tyler Ellis, Wild Bloom.

This year’s festival focuses on rebuilding and revitalization, presenting a lineup that combines iconic performers with fresh, youthful energy to ensure the continued evolution of roots music. According to Winterfolk founder Brian Gladstone, “Amid declining resources and shrinking audiences, Winterfolk is focused on rebuilding for a sustainable and vibrant future by presenting young emerging talent—a voice from the future that ensures the evolution and vitality of roots music.”

Highlights of Winterfolk XXIII

  • Opening Night – Friday, February 14, 2025: Celebrate Valentine’s Day with “Valentine Voices: A Night of Female Power,” featuring performances by Lynn Miles, Melanie Peterson, and more artists to be announced.
  • Saturday, February 15, 2025: A full day of music, including fan-favorite artists DALA, Robert Priest, Tannis Slimmon, Noah Zacharin, Lynn Harrison, Brian Gladstone, and Laura Fernandez, as well as “The Blues of Winterfolk” showcase starring Toronto Blues Society rising star Jesse Greene and friends. Additional workshops and guitar sessions will round out the day.
  • Sunday, February 16, 2025: The festival shines a spotlight on community music organizations and talent like Ken Whiteley, Michael Jerome Browne, Amanda Rheaume, providing a glimpse into the past and future of folk, blues, and roots music.
  • Winterfolk XXIII’s lineup features a mix of celebrated names and rising stars, including Michael Jerome Browne, Donné Roberts, Russell deCarle, Dala, Amanda Rheaume, Tannis Slimmon & Lewis Melville, Harpin’ Norm Lucien, Jesse Greene, and many more.
    In addition to its artist showcases, Winterfolk is partnering with local organizations such as the Toronto Folk Festival, Brampton Folk Festival, and Seneca College Music Program to amplify their work and foster greater collaboration within the music community.

Beyond performances, Winterfolk XXIII offers workshops, seminars, and discussions designed to engage audiences on a deeper level. These activities provide opportunities to learn about the rich history of roots music and connect with the vibrant Toronto music scene.

Like many festivals, Winterfolk faces challenges as it continues to recover from the pandemic. Despite a low-budget year, all signs point to success as audiences, sponsors, and grants steadily return. Gladstone remains optimistic: “It takes a community to build a festival, and Winterfolk’s success has been a true partnership with our fans, audiences, artists, and supporters. Together, we’ve grown the festival, enriched the roots music scene, and strengthened the Toronto music community.”

Winterfolk XXIII invites music lovers, families, and friends to experience three unforgettable days of live music, community connection, and cultural celebration. Whether you’re a longtime fan or discovering the festival for the first time, Winterfolk offers something truly special for everyone.

For tickets and more information, visit Winterfolk’s Official Website.

Winterfolk XXIII is proudly presented with the support of local partners, artists, and volunteers who share a passion for keeping the spirit of folk, blues, and roots music alive.

HOLLY COLE RELEASES NEW ALBUM ‘DARK MOON’

Eric Alper
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HOLLY COLE RELEASES NEW ALBUM ‘DARK MOON’

Renowned Canadian / International vocalist Holly Cole has released her 13th studio album, Dark Moon. Teaming up with her long-time live performance partners, along with additional musicians to create rich harmonies and layers, this album is a true ensemble project that highlights her signature style. Dark Moon is available here via Rumpus Room/Universal Music Canada.

 “I really wanted this album to embrace the spirit of spontaneity. At the same time a quintessential part of the sound of my music is in the arrangements. So, we did very little rehearsal in advance, and the songs were incredibly fresh for us while we were in the studio. The musicians that I play with contribute greatly to the arranging of the songs, and I wanted to hear the sound of when the light goes on for each one of us and many of the arrangements fell together as we played them. What we end up hearing on this record is the moment when we discover what we love about the song, and what its essence is for me.” – said Cole.

Holly Cole isn’t one of those artists who falls into any one category. Her smoky voice is sultry, her arrangements smart and sexy and all the while she and her musicians very uniquely reshape traditional Jazz, Pop and Country standards this time particularly from the New American Songbook writers including Marty Balin, Peggy Lee, Hal David, Burt Bacharach and Johnny Mercer.

The ensemble that Holly has brought together to help create and perform on Dark Moon includes long time live performance / recording mates, Aaron Davis (piano), George Koller (bass), Davide Direnzo (drums) and John Johnson (saxophone). Add to that the brilliance of sometime accompanist’s including guitar master and provocateur Kevin Breit and on harmonica two-time Grammy winner and original member of Bella Fleck and the Flecktones, Howard Levy and finally the wonderful three-part 1950’s Nashville style harmonies of the Good Lovelies. Together they define the absolute best in “ensemble playing”!

The first featured single is ‘No Moon At All’ is an up-tempo, sexy version of the track originally recorded by Peggy Lee that features a wonderful Howard Levy (2-time Grammy winner, friend, and original member of the Flecktones) harmonica solo.

Dark Moon is available  now via Rumpus Room/Universal Music Canada on CD, 180-gram black vinyl, standard, Hi-Res digital + ATMOS.

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’s Manhattan imprint and released ‘Blame It on My Youth’ which achieved Platinum + sales in Canada, over 200,000 copies internationally, and based on the success of the single “Calling You”, a number 1 charted single and album in Japan. The next album based on her hit rendition of Johnny Nash’s, “I Can See Clearly Now” and its accompanying video cemented her success internationally setting up her following release, the critically acclaimed, Temptation, an album made up of material exclusively written by Tom Waits, one of Holly favourite songwriters.

With 12 previous albums to her name, Cole has achieved multi-platinum sales and received numerous awards, including 2 Juno Awards (out of 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, joining the ranks of Aretha Franklin, Diana Krall and Etta James. In 2014, she was awarded an honorary doctorate from Queen’s University.

In 2019, Holly Cole reunited the original Holly Cole Trio, with David Pitch on bass and Aaron Davis on piano, to celebrate the 40th anniversary of the Festival International de Jazz de Montreal. They performed at the cabaret Lion d’Or in Montreal, and these special shows were recorded and became the 2021 album ‘Montreal’.

For Christmas 2022, Cole released a remastered compilation combining her holiday releases from 1989 and 2001, titled anew ‘Baby It’s Cold Outside and I Have the Christmas Blues’.

The Music / Track listing

CD/DIGITAL/LP (Side 1 #1-5 / Side 2 #6-11)

  1. Steppin’ Out with My Baby
  2. Where Flamingoes Fly
  3. Moon River
  4. No Moon at All
  5. Message to Michael
  6. The Exciting Life
  7. Dark Moon
  8. Comin’ Back to Me
  9. Kiss Me Quick
  10. Walk Away Renee
  11. Johnny Guitar

Upcoming Tour Dates

  • March 7, 8, 10, 11 – Tokyo, Japan – Blue Note
  • April 27 – Peterborough – Market Hall Performance Art Centre
  • July 2 – Montreal, QC Festival International de Jazz de Montreal Theatre Jean Duceppe – Place des Arts
  • Canadian Summer Festival appearances announcements coming soon
  • Germany / US / Western Canada Late Summer / Fall 2025

 

 

Whiskey Jack Celebrates 46 Years In Music With Country-Folk Single “O L D” About Aging and Pickleball

Eric Alper
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Whiskey Jack Celebrates 46 Years In Music With Country-Folk Single “O L D” About Aging and Pickleball

If you’re fortunate enough to grow old, things begin to happen and you begin to ask yourself simple questions, like “did I leave my keys in my wallet or in my car? Did I leave my wallet in my car or at home? Did I leave my dentures in my car or in my wallet?” Time remains undefeated after all. But for Whiskey Jack, the process of aging has provided inspiration for their latest whimsical toe-tapper “O L D.”

https://music.youtube.com/watch?v=YJ5t7gV0tnE&si=9RRxScKb3IeXLZ_f

“O L D” was inspired in early 2024 when singer and guitarist Douglas John Cameron was chatting one day with his old pal Steve Hunter. During the discussion, Cameron had a momentary brain lapse and forgot something. “It looks like you’ve got the O L D,” Steve quipped with a laugh. The apt response was the creative spark for the single. “I just wrote about everything that was happening around me at the time — losing keys, doctor appointments, and pickleball,” Cameron says. “The song wrote itself.”

“O L D” was written, composed, and produced by Cameron, a two-time JUNO Award nominee for his songs Mona With The Children (1986) and Ants In Your Pants (2000). This is a sparse but spectacularly precise tale of realizing the aches and pains might not go away so easily. Told as if it was a doctor-patient consultation, “O L D” brings the work of John Prine, Lyle Lovett, Leon Redbone, and Jerry Reed to the fore for being highly comical and true. The song features Cameron on guitar and vocals, Duncan Fremlin on vocals and Steve Hunter on piano. And from the subtle piano tickling to the light and airy rhythm section, Whiskey Jack has played all the right notes to have a hit on their hands.

“We played it for the first time live with our band mates Billy MacInnis on fiddle, and James McEleney on bass, at a Royal Canadian Legion show in April, a crowd not known for their exuberance,” Cameron says. “We were stunned by the extended applause and robust laughter. Today, this has become our signature song and is featured at all of our shows. The reactions are the same each time. The young like it because they say, ‘My dad would love that song.’ The older crowd loves it because it speaks to what they’re experiencing every day as a senior. If it had been on a recording this year, our CD sales would have soared, and the pickleball craze would be even bigger.”

“O L D” is the latest offering from Whiskey Jack, a band who has been touring and recording for almost half a century. Appearing on CBC Television’s The Tommy Hunter Show’s “Ol’ Back Porch” segment, the group were honoured in 1990 when the legendary Stompin’ Tom Connors made the group one of his studio and touring bands. The partnership lasted for almost a quarter of a century before Connor’s death in 2014.

Whiskey Jack have several albums in their discography dating back to 1979’s Uptown debut, which was followed up by 1981’s One More Time. The group, who released their latest album Whiskey Jack 10 (Do It Again) in 2023, have also appeared on CBC Morningside, The Alan Thicke Show and The Ralph Emery Show on The Nashville Network. Memebers of the group also supported Connors on Late Night with Conan O’Brien when the host took his show to Toronto in 2004. Whiskey Jack, who have taken their years with Connors to create a Whiskey Jack Presents Stories & Songs of Stompin’ Tom concert, describe their performances as “polished” while “exuding humour, playfulness and professionalism.”

Now with plans for a Legends of Canadian Country Music TV trek with Donna and LeRoy from The Tommy Hunter Show in the cards, and a brand-new single in “O L D,” Whiskey Jack have definitely struck G O L D with this terrific tune.

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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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