Layah Jane

Artist Information

Biography

“A spine chilling talent…”
- Toronto Star

Speaking courageous and tender to the hungry hearts of poets, activists, and lovers alike, Folk songstress Layah Jane is the shy one with head-turning presence; the tall one with the bright smiling eyes, tangled curls, and dancing hips. She is a velvet-voiced tunesmith of clever, conscientious Canadiana that seeps into the soul.

With a poetic and political conscience from teenage years rocking to Ani Difranco, tender vocal phrasing from pressing walkman earphones spouting Sarah McLachlan into her middle-school ears, and an instinctive understanding of harmony and rhythm from in utero exposure to her parents’ Joni Mitchell, Rickie Lee Jones, Sade, and Kate Bush records, Layah Jane has studied the grand dames of her musical lineage, and has discovered and developed her own spirited voice.

Layah began crafting songs in her early teens, and has bewitched listeners ever since. Don’t be distracted by the CBC Galaxie Rising Star Award, the Ontario Independent Music Awards for Best Folk and Best Female Artist, the Toronto Independent Music Award for Best Jazz, or the songwriting award for Best Political Song at the Ontario Council of Folk Festival’s conference. Resonance bowls over award plaques, and melody sticks stronger than boastful bios or promises from strangers: You won’t be disappointed. You’ll hum like a bee with Honey...

Honey, the fan-funded third full-length release from Layah Jane, hits stores, digital download sites, and off-the-stage merch tables on February 8, 2011. Producer/guitarist/composer and longtime collaborator Oliver Johnson was at the helm again, guiding a co-creative process that resulted in a collection of songs that feature the tenderness, intelligence, and warmth of Layah’s Folk/Soul. Honey collaborators include Drew Birston on electric and upright bass (Chantal Kreviazuk, Sultans of String, Amanda Martinez), Davide Direnzo on drums and percussion (Holly Cole, Hawksley Workman, Feist), Scott Galloway on keys (Matt York, Nine Mile), and Brian MacMillan on electric guitars and banjitar (Kevin Hearn, Barenaked Ladies), among others.

With 5 recordings released in 7 years on the independent Grace Note Records, (Honey in 2011, Brightness & Bravery in 2008, Patience EP in 2007, and Grievance & Gratitude and Grievance & Gratitude Remixes in 2005), Layah’s prolific and passionate songwriting is carving her the kind of music career that is fruitful and long-haul steady.

The web of self-booked tours that Layah and Oliver embark on criss-cross North America. They add more miles to a little white VW bio diesel-fueled Jetta than the mechanic cares to count, scarf down more almonds and apples than the average touring vegetarian rockstar can stand, and meet many a beaming, cheering audience along the way.

The magical silence that holds potent soft notes together and sets roaring ones apart is Oliver Johnson’s guitar specialty. With R&B rhythm dirty from his years on the road with Canada’s forefront soul and funk players, and melodic intuition from his Jazz college background and 12 bar Blues-tinged childhood, Oliver adeptly plays the range between subtle and raucous, with emotive atmosphere and blistering solo leads. His sensitive and soulful accompaniment is integral to the dynamic of Layah’s live and recorded work. Their onstage chemistry: electric. The product: palpable joy.

Lucky for those in the path of Honey’s sweetness, 2011 will see Layah Jane sing her way from coast to coast yet again.

***
Layah Jane Bio Facts

Award Highlights:
* Ontario Council of Folk Festivals songwriting award Honourable Mention (2009, 2008)
* Ontario Independent Music Award for Best Female Artist (2008) and nomination for Best Song (2008)
* Toronto Independent Music Award nomination Best Folk (2008)
* Ontario Independent Music Award for Best Folk (2007)
* Toronto Independent Music Award nominations for Best Folk, and Best Female Fronted Band (2007)
* Toronto Independent Music Award for Best Jazz (2006) and nomination for Best Live Acoustic Act (2006)
* CBC Galaxie Rising Star Award (2005)
* Ontario Council of Folk Festivals’ political song award for “Reverence and Ridicule” (2005)
* American Independent Music Award nomination for Best Folk/Singer-Songwriter (2005)

Festival and Showcase Highlights:
* Canadian Music Week (2010)
* Katchepaw Music Festival (2009)
* Toronto City Roots Festival (2006, 2007, 2008)
* NXNE (2004, 2005, 2008)
* Blue Skies Music Festival (2008)
* Ontario Independent Music Awards (2008)
* Toronto Independent Music Awards (2008)
* Rochester International Jazz Fest (2007)
* New Music West (2006, 2007)
* Winterfolk Festival (2005, 2006)
* Ottawa Folk Festival (2005)

Shared Bill/Shared Stage Highlights:
The Webb Sisters, Jorane, Sarah Harmer, Peter Katz, DALA, Melissa McClelland, Emma-Lee, Tom Wilson, Liam Titcomb, Jason Fowler, Gregory Hoskins, Suzie Vinnick

Licensing Highlights:
* 2 songs licensed to “Addicted to Plastic” (Cryptic Moth, 2008) documentary film by Ian Connacher
* Song licensed to “Be the Change” (Living Lightly, 2008) documentary film by David Chernushenko
* Song licensed to feature film “Shark City” (Stardust Pictures, 2009) directed by Dan Eisen
* Voice of the Dove Real Beauty/Self Esteem Fund’s 2006 “True Colors” International TV Campaign
* Songs licensed by Global TV’s “Blue Murder”, and ESPN’s prime time drama “Tilt”

Instrumentation

Layah Jane - Vocals, keys, Acoustic Guitar
Oliver Johnson - Acoustic Guitar, Electric Guitar, Baritone Guitar, background vocals

Discography

Honey (Grace Note Records, 2011)
Honey Sampler (Grace Note Records, 2010)
Brightness and Bravery (Grace Note Records, 2008)
Patience EP (Grace Note Records, 2007)
Grievance and Gratitude (Grace Note Records, 2005)
Grievance and Gratitude Remixes (Grace Note Records, 2005)
Layah Jane (Grace Note Records, 2001)

Guest Appearances:
Lumens of Light - Jason Fowler (2010)
Shine - Brian MacMillan (2010)
Deportation - LAL (PTR, 2008)
Already Broken - Anthony R. Wilson (2008)
More Nights - Peter Katz (2007)
Like a Ripple - Kim & Jerry Brodey (1996- Juno nominated)

Official Website

http://www.layahjane.com

Links

• Facebook
• Twitter
• MySpace
• Youtube

Audio

• Dandelion
  Listen   Download
• Find You Gone
  Listen   Download
• Heart That Knows
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• Reverence and Ridicule
  Listen   Download
• When It's Time
  Listen   Download
• WAKE ME
  Listen   Download
• Come Summer
  Listen   Download

Lyrics

• Dandelion
• Find You Gone
• Heart That Knows
• Reverence and Ridicule
• When It's Time
• Come Summer

Video

Photo Gallery

Press

• Layah Jane's "Honey" sounds sweet [+ Show ]
  

  Layah Jane’s new CD, Honey could win an award for aptly-named album of the year. With a voice tha...Layah Jane’s new CD, Honey could win an award for aptly-named album of the year.
  
  With a voice that’s both sweet and rich, and a delicious, deep-groove approach, Toronto artist Layah Jane has finally found her sound on this CD, and honey’s the word for it.
  
  Layah Jane sings lovingly – much like her peers Lori Cullen and Jory Nash, both notable for lush delivery.
  
  Playfully pouting each sensuous syllable, she channels hints of Sade and Morcheeba in equal parts—all the while remaining thoroughly “roots” in instrumentation and approach. Like Brian MacMillan, (whose vocals and guitar are featured on the new album) Layah Jane has found that happy place where folk gets feeling, and she’s made herself right at home.
  
  Along with partner/producer/accompanist Oliver Johnson, Layah Jane has been slowly establishing a distinctive sound over the past few years. It emerged first on stage – the two of them locking in, with wide grins, to a trance-like dancing rhythm entirely their own, tastefully defined with minimalist acoustic guitars (Ollie’s a master of the understated lick) and adorned with Layah Jane’s ethereal, slightly dusky vocal.
  
  Now they’ve laid that sound down on record, and Honey is a tasty treat that fairly oozes out of the speakers. Not many singers can channel a sensual vibe with a smiling voice, but it’s a specialty for Layah Jane, whose hippie-girl aesthetic fits her sound just fine. Honey is a groovy record, though not a funky one: think lazy love, not simmering sex.
  
  Yet it’s a roots record, too, and what’s most distinctive about Layah Jane’s sound is the way it marries folk flavours with a soul feel—a credit both to her musical instincts, and to her fruitful collaboration with Oliver, whose carefully considered production frames her sound without confining it.
  
  Right off the top, the uptempo opening track “Dandelion” —with simple brush & snare backbeat, mandolin and banjo accents, and sunny, summer-day lyrics—places the material in folk territory.
  
  But this is not sit-still-and-clap-politely folk music. The title track demands movement and is a true reflection of Layah Jane’s live act. She literally moves people; her songs and stage show are a constant reminder that movement is as important as melody in the meaning of music.
  
  If “Honey” is the album’s heart, “Find You Gone” is its spirit. At once langorous and loving, this down-tempo number is characteristic of Layah Jane at her best. Savouring every word, lingering over every note in fluid fashion, she’s the queen of the feel-good morning mood piece that’s all about taste and tone…
  
  Just like Honey.

• Layah Jane "Honey" [+ Show ]
  

  "...Delightfully understated collection of songs...Great emotional depth...Its warmth leaves you yea..."...Delightfully understated collection of songs...Great emotional depth...Its warmth leaves you yearning for more."

• Sounds of the Season ~ Spring 2009 [+ Show ]
  

  I know I keep saying this but besides oil and lumber, this country is one of the world's leading sup...I know I keep saying this but besides oil and lumber, this country is one of the world's leading suppliers of gifted and poetic singer-songwriters. Case in point: Toronto's own Layah Jane, whose organic soulful sound is reminiscent of Joni Mitchell, and Ricki Lee Jones. Her clever lyrics, ranging from the personal to the outright political, are the perfect showcases for her great voice with its breathy, jazz-tinged feel. On "Brightness & Bravery", her sophomore CD, her acoustic guitar is supported by session players who've worked with the rank of names - Bruce Cockburn, Ron Sexsmith, Jann Arden, Leslie Feist - Layah Jane is well on her way to joining.
  
  ~Ann Lough

• Spotlight on Layah Jane - July 2008 [+ Show ]
  

  Amie Street (July 2008) http://amiestreet.com/blog/post/artist-spotlight-layah-jane Inspired by...Amie Street (July 2008)
  http://amiestreet.com/blog/post/artist-spotlight-layah-jane
  
  Inspired by folk greats like Joni Mitchell and Rickie Lee Jones, Toronto's Layah Jane blends acoustic poetry with pop and electronic production like Imogen Heap's. She's seen numerous awards in her hometown and recent TV exposure, so check her out while she's on the rise!
  
  This young Toronto songstress weaves intricate vocals in and out of beautiful acoustic guitar flourishes. Seeded in the roots of folk rock, Layah Jane's sound adds a little more pop to the wholesome words of poetic chants like those of Joni Mitchell and Rickie Lee Jones.
  
  And that's no surprise, considering the great influence they have over most of her work.
  
  Jane is backed by Oliver Johnson on her sophomore album Brightness & Bravery, who adds hearty vocals and electric and baritone guitars, in addition to being general producer on the album. She is also supported by a cohort of fellow Canadian musicians, and her mellow, articulate style warms right down to the core.
  
  When It's Time is faithful to traditional folk songs, bringing me back to Sarah McLachlan's classic "In the Arms of An Angel" -- but Jane manages to add her own heartfelt poignancy.
  
  Put Your Foot Down picks up a bit, with an upbeat pluck of the guitar pick; this is where you can hear more modern pop pushing its way through. Like Norah Jones, Jane manages to relate to listeners via the anguish of relationship ups and downs.
  
  And the breathy whispers opening the album in Armoury combine both new and old, bringing in the whimsical electronics so often used by Frou Frou's Imogen Heap and hitting the high notes when drawing out mournful melodies.
  
  While many tracks seem to teeter somewhere along the folk rock spectrum, my personal favorite -- Willow -- stands on its own, with passionate, tempting vocals like those heard in a 1920's jazz club.
  
  B&B is sure to see the same success of Jane's debut album and career in general -- she began dabbling in acoustics at the ripe young age of thirteen, and has produced rich and original music nearly all her life. After winning a wide variety of Toronto music awards and seeing features on a number of television hits (like Global TV's Blue Murder and ESPN's primetime drama Tilt), Jane's ambition and inspired poetry truly demonstrate her own bravery and brightness.

• Keeps Me Alive - July 2008 [+ Show ]
  

  Keeps Me Alive (July 2008) http://music-kma.livejournal.com/tag/concert+reviews Brian MacMillan...Keeps Me Alive (July 2008)
  http://music-kma.livejournal.com/tag/concert+reviews
  
  Brian MacMillan, Layah Jane and Oliver Johnson (July 12, 2008)
  
  We've just returned from yet another in the amazing Knox Acoustic Cafe series, this time the incomparable trio of Brian MacMillan, Layah Jane and Oliver Johnson. What a fantastic show!
  
  The basement room was definitely warm tonight - this hot July night's heat was a presence certainly felt by all. But there was no stopping these musicians as they treated us to song after song of brilliant playing, beautiful vocals and tales of new beginnings and love. What's not to like?
  
  Layah Jane is known to folks around here through Last Chance Saloon, part of the lead up to a recent Summerfolk. Tonight she sang incredibly well, her perfectly-controlled voice rising from whisper to power with passionate ease. There's a breathy quality in her singing, in the tradition of the great jazz vocalists (one could easily imagine her covering Ella and Billie). I also heard some Eva Cassidy (as a fellow audience member pointed out), and even a little Norah Jones. But those would merely be comparisons (which can only go so far), because her voice is also completely her own and it's amazing. Her songs are well-considered and peaceful, and she dances while she sings, her entire body suffused with the music. She's a captivating performer whose name you should definitely get to know.
  
  This was my first time hearing Oliver Johnson play the guitar, and I definitely hope it won't be the last. He was the ace in the hole tonight, in many ways, reliably adding support, colour and fills where they best fit in each tune. It was obvious in his playing, and in the way his eyes lit up and a playful smile crossed his face mid-song, that the man has truly found his joy in music. Watching his fingers fly across the frets was a real treat.
  
  Brian MacMillan has played at Knox before, a solo set last year and, although we regrettably missed that show, I have had reports that it was every bit as great as tonight's performance. I believe it. The man's excellent songwriting and intricate guitar work is truly something to behold, and his relaxed and engaging stage presence is a definite plus. I've had his CD for a while now, and his songs never fail to lift me up. With his words he seems to acknowledge that there are bad things about life, but why focus on that when you can start over, move past it and get on with things in a more open and understanding way? Better yet, he's not at all preachy about it. It just is what it is. I love it.
  
  The first set of the show featured Jane's songs, with accompaniment from MacMillan and Johnson, while the second set was comprised of MacMillan's tunes backed by the other two. On any given night, all three of these musicians could ably carry a solo show, without question, but the real treat for the audience tonight was seeing them all perform together. There's a real understanding between them, a sympathetic and respectful playing that was completely riveting. They just seemed to know where the others would take things, and it all fit seamlessly. Each song was beautiful, complete, and perfect.
  
  Alas, it was all over too soon and, after chatting with each performer briefly afterwards (who all turned out, of course, to be genuinely friendly and nice people), we struck out for home with our heads full of the wonderful music we'd heard tonight. I will not soon forget this excellent show.

• The Sault Star - May 2008 [+ Show ]
  

  Deciding to stop taking music lessons may be one of the smartest things folk singer Layah Jane ever ...Deciding to stop taking music lessons may be one of the smartest things folk singer Layah Jane ever did.
  
  Her father was an amateur singer/songwriter. Her mother penned poetry. Both encouraged Jane when she started singing as a youngster - but not too much.
  
  Jane took piano lessons, but was more interested in pursuing her own music. Keyboard instruction stopped when she was about 12.
  
  "It turned out to be a good thing because I actually ended up playing more music once I stopped taking lessons than when I was supposed to be practising," she said in a recent telephone interview from Toronto.
  
  Jane's career is rolling along nicely these days.
  
  Her debut disc, Grievance and Gratitude, was named best jazz disc by Toronto Independent Music Awards.
  
  Ontario Independent Music Awards named her best folk act in 2007.
  
  "I love lots of different kinds of music," said Jane.
  
  "I'm really pleased that our music seems to be crossing genres. It's great to find audiences in all places."
  
  Her third release, Brightness and Bravery, came out earlier this year.
  She's open to what her musical collaborators have to say as she considers working in the studio as "very much an open creative space."
  
  That also means Jane doesn't set out to tag a particular song with a more folk, soul or jazz-sounding bent.
  
  "I try not to limit myself too much in terms of the actual songwriting," she said.
  
  "We really try to just follow the direction that each song dictates. Hopefully the unifying factors are my voice and my songwriting style.
  
  "If the individual songs stretch the genres a little bit we're hopeful that it holds together on its own as well."
  
  The unifying theme on Brightness and Bravery's 13 tracks is persevering through personal and societal darkness and encountering courage and light.
  
  "We're in a very tricky time politically and socially," she said.
  
  "I feel like I end up writing music that reflects the courage that I'm looking for and that I want to inspire in people to keep going and define the world as we want it."
  
  ~Brian Kelly

• The Toronto Star - April 2008 [+ Show ]
  

  Toronto's award-winning singer/songwriter/guitarist Layah Jane is a spine-chilling talent who is sho...Toronto's award-winning singer/songwriter/guitarist Layah Jane is a spine-chilling talent who is showing off her sophomore disc at Hugh's Room. Brightness and Bravery evokes Rickie Lee Jones and Norah Jones with intensely intimate tunes that meld pop, folk, reggae, soul and jazz. "These are songs that come from the experience of persevering through darkness - both personal and societal - to discover light," the 25-year-old says. A beautiful voice and something to say, can't beat that.
  
  ~Ashante Infantry

• Rochester City Newspaper - April 2007 [+ Show ]
  

  This 24-year-old Canadian songstress walks the folk side of the street. Layah Jane is folk in that h...This 24-year-old Canadian songstress walks the folk side of the street. Layah Jane is folk in that her music tends to be acoustically rooted and politically charged. The jazz aspect sneaks in with her phasing and structure. She’s not a jazz musician per se, but neither was Rickie Lee Jones or Joni Mitchell. And both those grand dames pushed --- and still pushed whenever classifications and parameters loomed. Short answer: Layah Jane is beautiful music. You’re gonna like her.

• www.frankcasting.com - Sept. 2006 [+ Show ]
  

  In baseball, talents like Layah Jane are known as 5 tool prospects, someone who can do it all at a h...In baseball, talents like Layah Jane are known as 5 tool prospects, someone who can do it all at a high level, seemingly effortlessly. She writes, sings, and plays fabulously; she is charismatic and gorgeous, backed by superb producer /guitarist Oli Johnson, Layah Jane is about to explode.
  ~Andy Frank

• Her Walk Ain't Weak- Feb.2006 [+ Show ]
  

  "...says she 'you all must be the change you wish to see' if I talk my speak but my walk is weak..."...says she
  'you all must be
  the change you wish to see'
  if I talk my speak
  but my walk is weak
  show me
  just how to be
  the change I wish to see"
  
  This passage, from Layah Jane’s award-winning song “Reverence and Ridicule”, offers a poetic, rhythmic, and philosophical snapshot of the gifted 23-year-old singer/songwriter. She performed this and five other songs with guitarist / record-producer Oliver Johnson, at Now Lounge as the headline act for Jennifer Claveau’s Groovy Mondays open-mic series.
  
  By paying reasonably close attention to Layah’s words and subtle body language, I conclude that she embodies the values she holds values she holds closest to her expressive heart: her love of mother earth, children, rhythms, writing, art, and her belief in fairness, personal boundaries, integrity, respect, and peaceful resolution.
  
  Her walk ain’t weak.
  Nor is anything weak about her singing. Layah Jane’s voice just keeps getting richer and fuller every time I hear her sing. Her initial hums into the microphone hushed the room as though signalling the entrance of an angel. In pin-drop silence, the audience absorbed her soothing, cadenced offerings, only daring to exhale with enthusiasm between songs.
  
  Thought-bubbles popping up in the crowd of songwriters might have revealed reflections on her voice, (Ricky Lee Jones, Sarah McLachlan — especially one technique she uses for emphasis) her image, (Ivory Girl, breathtaking natural beauty) or her flawless guitar work. I was struck by the pure rhythms that coursed through her body and voice, and I wondered how she could morph into a Jazz, Blues or Hip Hop artist anytime she damn well pleased.
  
  Layah Jane purred through her set, bantering playfully with the audience by giving them updates on the election returns, and soothing one patron by suggesting that singing about one’s frustration over an impending Harper government was a better option than harming the new PM. (Her kindergarten-teacher skills were put to good use.)
  
  Despite her ‘new discovery’ status, Layah Jane is not new to the music business. She has been recording as a back up vocalist or child performer since the age of five and has appeared on Juno-award winning albums. 2005 was a dream-year for her; it included the winning of a showcase at the Ottawa Folk Festival and a CBC Galaxie Rising Star Award. "Reverence and Ridicule" won the political category in the Ontario Council of Folk Festival's songwriting competition, and the same song was nominated for an American Independent Music Award in the Folk/Singer-Songwriter category. I get the feeling she is on the cusp of getting sucked into the great big music vortex that spits out victims like olive pits, but her headstrong ways should see her through it all unscathed.
  
  ~Andy Frank

• Northeast In Tune- Aug.2005 [+ Show ]
  

  “I wish they all could be Canadian girls” Layah Jane has been a busy girl. A back up singer on ...“I wish they all could be Canadian girls”
  
  Layah Jane has been a busy girl. A back up singer on a plethora of projects and a growing tour schedule as well as Dj ing and starting a nationwide dance floor party movement in her native Canada . Currently touring behind her disc "Grievance and Gratitude" with stops that have included NXNE as well as the upcoming Ottawa Folk Festival.
  
  The title gives it away. Layah has something to say and she says it with quick and clever rhyme schemes. Big ideas like be the change you want to see infuse her songs with earnestness that doesn't get cheesy. A voice that reminds me of the singer from the early 90's Australian band Frente mixed with a little Joss Stone is complemented nicely by her fusing of jazzy, swing filled reggae inflected grooves.
  
  Coming on the heels of young female artists from Canada who probably have limited shelf life (sorry, Averil) and the juggernaut that is Norah Jones (who donated a session player to the album) Jane firmly ignores the former while not being as traditional as the later. Layah (I keep wanting to sing ‘Layla”) has created a hybrid mix of funky jazz reggae conscious something to say folk pop that enters your ear like cotton candy melts on your tongue.
  
  On the track 'Reverence and Ridicule" she rails against prepackaged fashion and music telling us to keep the next radio song. Layah has more important things to do. Later she wonders, "I wonder sometimes if I have it in me the resiliance it takes to not let it win me" referencing the pressure to churn out pop hooks and catchy choruses at the expense of art.
  
  
  Don't you worry Layah Jane. You do you do you do.
  
  
  - Mike Grutka
  

Setlist

~ set # and length vary depending on venue and event, from 1 x 20 minutes up to 2 X 50 min +

Original Songs:
Follow You
Willow
Put Your Foot Down
Wake Me
Honey
A Heart That Knows
Landslide
Reverence and Ridicule
Firefly
Saltwater Taffy
Dry Wit
Hostage
Press to Me
Patience
When it's Time
Sagegrass
Burning Low
Steppin' Out
Don't Look
When it Heals

Cover Songs:
Shine (Joni Mitchell)
A Case of You (Joni Mitchell)
Crazy (Gnarls Barkley)
Some Humans Ain't Human (John Prine)
You Are the Sunshine of My Life (Stevie Wonder)
Message in a Bottle (Police)
Love is in Love (Geggy Tah)
Looking for a Leader (Neil Young)
Don't Let it Bring You Down (Neil Young)
Forever (Ben Harper)

Basic Requirements

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Layah Jane Duo Rider

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