Lake of Stew
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Lake of Stew

Montréal, Quebec, Canada | INDIE

Montréal, Quebec, Canada | INDIE
Band Folk Acoustic

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"Geoff Muldaur & the Texas Sheiks; Lake of Stew - Sweet as Pie"


GEOFF MULDAUR & THE TEXAS SHEIKS
Geoff Muldaur & the Texas Sheiks
Tradition & Moderne
tradition-moderne.com

LAKE OF STEW
Sweet as Pie
Woodhog Recording Company
lakeofstew.ca

Are we in the midst of a new jug band revival? In October, I reviewed a great new jug band album by Maria Muldaur who got her start in the 1960s playing in the Even Dozen Jug Band, and, more famously, in Jim Kweskin’s Jug Band. Geoff Muldaur, Maria’s ex-husband, and former Kweskin band mate, and Montreal’s own Lake of Stew, have also released great new jug band albums.

Strictly speaking, in the absence of jug players, these are really string band, rather than jug band, albums (although producer Ken Whiteley does play the jug on one track on the Lake of Stew CD). But, they are in the spirit of the original Memphis-area jug bands of the 1930s, and certainly of the 1960s-era revivalists like Jim Kweskin & the Jug Band, and later revivalists like John Sebastian’s J-Band (which also included guest appearances by Geoff).

Speaking of Kweskin, he’s a guest-Sheik on Geoff’s album and takes the lead vocal on three tunes, including a remake of “Blues in the Bottle,” a song that was on the first Jim Kweskin & the Jug Band LP I bought back in the ‘60s.

I’ve loved almost everything Geoff Muldaur has recorded over the years – from his band work with Kweskin and Paul Butterfield, to his solo albums and collaborations with Maria and Amos Garrett. Geoff Muldaur & the Texas Sheiks stands tall with the best of his work. He’s a particularly fine blues singer and includes Texas Sheik versions of such songs as “Poor Boy, Long Way from Home,” “Right Now Blues” and “Cairo” (I recently heard my friend Andy Cohen, who kind of specializes in playing hard-to-play blues songs, say that “Cairo” is about the hardest song he plays).

As mentioned, Jim Kweskin, who led the leading jug band of the 1960s, steps up to the microphone to take the lead vocals on three songs. Other Sheiks who sing lead include guitarist Johnny Nicholas on three songs, including a fine take on Robert Johnson’s “Travelin’ Riverside Blues”; and bassist Bruce Hughes who offers a raggy version of “Don’t Sell It (Don’t Give It Away).”

Other members of the Texas Sheiks include the late guitarist Stephen Bruton – the album was recorded shortly before he lost his battle with cancer; Dobro player Cyndi Cashdollar; and fiddler Suzy Thompson, who also played on Maria Muldaur’s jug band album.

While Geoff Muldaur & the Texas Sheiks interpret a repertoire that dates back to the era of the original blues players and jug bands of the 1920s and ‘30s, Lake of Stew, on their second album, brings a ‘20s and ‘30s aesthetic to 14 contemporary songs written by various members of the six-piece band. Everyone in the band brings at least one song (and lead vocal) to the set list.

In my 2008 Montreal Gazette review of Ain't Tired of Lovin', the first Lake of Stew CD, I said “the lead vocals and irresistible harmonies shift through the band from song to song, and everything is played with an absolutely infectious energy” and that’s still the case on this CD. I love their energy, their harmonies, that all-acoustic instrumental approach and the quirky songs they write.

While the whole album is fun, my favourite tunes on first listen include Dina Cindric’s “Darlin’ Starlin’,” a really pretty love song with the lilt of a timeless Appalachian folksong; “Pretty Sarah,” Richard Rigby’s romp about tagging factory walls and ducking cops; and Julia Narveson’s “Hey Bully,” a musical challenge to some local bully that feels like it could be an old Gus Cannon song. This, BTW, is the track that Ken Whiteley plays jug on.

Along with Dina (accordion, kazoo, banjo, piano, bass, ukulele), Richard (mandolin, kazoo, harmonica, banjo) and Julia (washtub bass, banjo-ukelele, fiddle, bass), Lake of Stew's singer-songwriter-instrumentalists include Daniel McKell (guitar. jaw harp, banjo, kazoo, tenor banjo), Brad Levia (guitar), and Mike Rigby (guitar, mandolin, washboard & brush). A talented lot. Ken Whiteley variously adds washboard, banjo, mandolin and triangle to four of the 14 songs.

Sweet as Pie is less overtly political than Ain’t Tired of Lovin’, their first album, but it’s tighter. That’s mostly because they’ve played a lot over the past couple of years, but also because they’ve pared the size of the band down by a couple of members and recorded under the studio supervision of Ken Whiteley, one of Canada’s finest roots music producers (and musicians).

--Mike Regenstreif - Mike Regenstreif, Dec. 2, 2009


"Lake of Stew - Sweet As Pie"

À travers la controverse entourant la participation de la formation anglophone Lake of Stew à l'Autre St-Jean, on a oublié de parler de l'essentiel: le combo montréalais excelle dans un old-time folk que l'on imagine interprété sur la galerie d'une maison perdue dans un champ de coton. Banjo, guitare acoustique, mandoline, piano, harmonica, accordéon et basse washtub s'unissent dans des compositions touchantes (Darlin' Starlin') et entraînantes (Wait for Your Knock). Contrastant avec ce paysage sonore traditionnel, les textes de Lake of Stew mettent en scène un quotidien urbain et rehaussé de clins d'oeil modernes, comme cette référence à KRS-One dans Pretty Sarah. On craque pour la légèreté du compact et l'esprit bon vivant qui s'en dégage. - Voir, Nov. 12, 2009


"Lake of Stew Sweet as pie"

C'est quoi?
Depuis 2001, Lake of Stew bêche dans la mouvance néo-folk et bluegrass, après que certains membres de ce sextuor montréalais eurent troqué les basse, batterie et amplis de l'indie rock pour une panoplie d'instruments hétéroclites. Armés entre autres d'une mandoline, d'un banjo, d'un accordéon, d'une guitare slide, d'un kazoo, d'un harmonica et d'une contrebassine, la bande crée une musique souvent festive et entraînante, 100 % acoustique.

Et elle est comment, cette tarte?
Sweet as pie, deuxième album de la formation, dévoile une moisson campagnarde enracinée dans le hillbilly boogie, le jump blues et le country. Un joyeux mélange entre l'univers musical du film O brother where art thou? et celui d'un United Steel Workers of Montréal, par exemple.

Un ragoût qui a du goût?
Il se dégage une vibration positive de la musique de cette famille à géométrie variable, sans une once de prétention. L'esprit est à la fête, et les musiciens mitonnent chaque chanson avec passion et cohésion, sans trop sombrer dans le révisionnisme. Cela dit, la plupart des pièces de Lake of Stew se ressemblent un peu, ce qui pourrait couper l'appétit de certains. C'est une question de (ra)goût dirons-nous.

Une écoute cuisinée de Patrick Baillargeon - Bande a Part, Nov. 10, 2009


"Sweet As Pie"

Sweet As Pie
Dave Jaffer

Sweet As Pie is so warm and likeable it feels like a bear hug. More than many comparable hillbilly-esque acts that come to mind, Lake Of Stew are charming and diverse in their sound. The differences between Hey Bully and Ride the Bear (my faves) are too many to count; that these two and songs like Oh My work is a testament to the songwriting skill of these Montrealers. Yes, sometimes this offering meanders and gets a little unfocused and silly (On the Porch and the moment of KRS-One love in Pretty Sarah), but mostly this is a big ol' winner. - Hour Magazine, Jan. 7, 2010


"Lake of Stew, Sweet As Pie"

If records like Sweet As Pie the latest release from Lake Of Stew don’t put you in a good mood, then there’s simply no helping you. Though this hootenaney-ready, banjo laden dustbowl of a listen is tinged with some dark undertones, there’s no stopping the overwhelming sense of prosperity that keeps this gem of a record afloat.

Most of the tracks hover around the two-minute mark, such as the stomping sing-a-long shuffle of “Jimmy Runs Fast.” A simple tale brings to mind homemade wine drank from a jug at sunset; Sweet As Pie is an uncomplicated but enlightening listen. Perhaps Lake Of Stew could be written off as something of a gimmick record. And while it’s true that Sweet As Pie is easy to classify, it’s also very easy to find tracks that hit you on a personal level, thus rendering the previous statement kind of meaningless. The defiant state of mind that “On The Porch” induces is one the best of us have experienced; ultimately we’re all alone in this life, but if there are records Sweet As Pie to keep us company, then things might not be so bad. It’s albums like Sweet As Pie that beg not for the revival of CBGB’s but the Grande Ole Opry. After all, a feeling this good is pretty damn contagious.

By Joshua Kloke
- Skope Entertainment Inc., March 5, 2010


"Lake of Stew - Sweet as Pie"

Lake Of Stew hail from the icy alleyways of Montreal, but if we didn't know any better, we'd think they occupied a cramped kitchen south of the Mason-Dixon line.

As it turns out, the band's culinary abilities rival their musical skills. Along with albums and T-shirts, the band's webstore also sells homemade onion confit, a Quebec-styled preserve best served with toast.

But forget lunch. Sweet As Pie is the group's sophomore effort, following Ain't Tired Of Lovin', a scrappy album the band says was recorded "with soup cooking in the background."

Sweet As Pie was released by Dare To Care Records, better known for the cabaret-punk of Les Georges Leningrad or the coked-up urbane country of Yesterday's Ring.

Still, the band sounds more like Mount Pleasant, S.C. than Mount Royal, and Sweet As Pie is a slice of old-timey jug-band bluegrass befitting of its title. It's a communal affair, and each tune is full of tinny banjos, whimsical kazoos, sprightly accordion and dopey washtub bass.

Vocalist Brad Levia, in particular, sounds like Hank Williams, Sr. with a lungful of birthday party helium, while the rest of the band chimes in with a potluck of pitch-perfect vocal harmonies.

It's like Buck Owens, were he more concerned with beaver tails than tiger tails. Or perhaps a Muppets remix of Deliverance.

But simmering beneath the band's carefree hammock-swinging aesthetic are strong regional undertones. The title track cheekily references a certain CanCon favourite ("I went to the record store/to get The Sadies record I was looking for") while elsewhere, they namecheck local neighbourhoods ("Pretty little Sarah won't you come with me/There's a hole in the fence down in NDG").

Lake Of Stew's puppy love tales might not be as timeless as Williams' yodeling heartache, but it's a perfectly acceptable accompaniment to lazy spooning sessions on the front porch. Wash this one down with a mouthful of jug wine or spruce beer. - CHARTattack, Dec. 4, 2009


"Lake of Stew (Penguin Eggs)"

Montreal's self-proclaimed "all-singing, old-timey new-timey now-timey acoustic string band" boasts eight core members and an aversion to amplification in live settings.

They adapt that esthetic to their debut disc, a rough-and-ready set of songs that amply showcase the sensitive musicianship and luminous all-in vocalizing.

Captured live off the floor, the band sounds sharp but loose and it's easy to picture them seated in a circle on upturned crates singing into a big old-timey microphone, bottles close at hand, singing their guts out about hurtin' and lovin' and screwin' up your life and screwin' up the world.

The songwriting credits are spread around but mandolinist Richard Rigby, guitarist Brad Levia and multi-instrumentalist Daniel McKell share an interlocking, punk-inflected lyrical wit that fuses surprisingly well with the band's rootsy musical thrust, while fiddler Annabelle Chvostek, a former Wailin' Jenny, chips in a distinctively spirited pair in The Sioux and Motels of America.

Sometimes the cleverness threatens to cloy on songs like The Armadillo, but luckily that self-consciousness never infects the music, and the voices they do soar. The people demand a cross-country tour of barns and wood-panelled taverns.

By Scott Lingley - Penguin Eggs, Issue #37, Spring 2008


"Lake of Stew: Ain't Tired of Lovin' (Sing Out!)"

There's a grassroots folk music boom going on in Montreal the likes of which I haven't seen since my own days as a young folkie in the 1970s. Lake of Stew, a nine-member collective that hosts biweekly hootenannies in the city, is a big part of it. Their sound is rooted in the Memphis jug bands of the 1930s and in traditional old-time Appalachian fiddle and banjo tunes. While their melodies and instrumentation are rooted in traditional music, their songs, written by different members of the band, are utterly contemporary. Like the songwriting, the lead vocals and irresistible harmonies shift among the band members from song to song, and they play everything with an infectious energy. In some ways, they're a contemporary version of the Holy Modal Rounders.

The best known member of Lake of Stew is Annabelle Chvostek, a noted solo artist on the Montreal scene and former member of the Wailin' Jennys, who contributes two songs to the CD. "The Sioux," which is done in a more down home version than on her recent solo album, comments on the hopelessness in some northern Ontario aboriginal communities, while "Motels of America" is a bluegrass romp that seems to simultaneously be about being on the road, going home and giving up on the no-tell relationships in dingy motel rooms.

Other standouts on the CD include Brad Levia's "The 105," a stomper about waiting for the 105, a famous bus route in Montreal, en route to a job interview, and Richard Rigby's "Mary Margaret," an infectious tune with lyrics that are certainly thought-provoking, if not disturbing.

By Mike Regenstreif - Sing Out! The Folk Song Magazine, Autumn 2008


"Lake of Stew (Montreal Gazette)"

There's a folk and roots boom happening in Montreal the likes of which hasn't been seen in decades.

The latest band to release a fine debut CD is Lake of Stew, a nine-member collective that hosts biweekly hootenannies at Le Cagibi and whose sound is rooted in the Memphis jug bands of the 1930s and in traditional old-time Appalachian fiddle and banjo tunes. Although Lake of Stew's melodies and instrumentation is rooted in tradition, their songs, variously written by different members of the band, are very much of today with their often-witty lyrics commenting on contemporary issues. Like the songwriting, the lead vocals and irresistible harmonies shift through the band from song to song and they play everything with an absolutely infectious energy.

Podworthy: The 105

By Mike Regenstreif



- Montreal Gazette, May 7, 2008


"Lake of Stew Ain't Tired of Lovin' (Montreal Mirror)"

Annabelle Chvostek
Resilience (independent)
Lake of Stew
Ain’t Tired of Lovin’ (Woodhog)

Annabelle Chvostek’s last release was Water, but this album works the ebb-and-flow to greater effect, with light, largely acoustic country/folk arrangements carrying her hearty vocals out on the tide. Her introspective, tender lyrics avert many of the clichés of the genre, also taking subtle stabs at urban/rural tension, Canada’s colonial past and contemporary oil wars, with one song co-written by Bruce Cockburn. A beautiful record. The same can’t be said of Lake of Stew, a large local ensemble featuring Chvostek on fiddle, guitar and vocals, but their rough ’n’ tumble ditties are honky-tonk hootenanny fare, and beauty has nothing to do with it. Instead, this record lets you stomp, holler and moan along to songs about buses, motels, the Dalai Lama, universal health care and assassinating the PM.

Chvostek 8.5, Lake 8/10 (Lorraine Carpenter) Annabelle Chvostek CD launch at la Sala Rossa, Sun., May 18, 9 p.m.; Lake of Stew CD launch with Mike O’Brien at la Sala Rossa, Fri., May 16, 9 p.m., $7/$20 with CD
- Montreal Mirror, May 15, 2008


"Lake of Stew - Ain't Tired of Lovin' (Nightlife Magazine)"

Qui n'a pas parfois une de ces rages de country craquelant, senti et mélodique à souhait, à la manière de la B.O. de O Brother, Where art Thou? Contre toute attente, l'une des réponses les plus convaincantes à ce besoin pourrait bien se trouver à Montréal. Composé d'entre huit et onze mordus de old time acoustique, Lake of Stew livre vraiment le vrai truc. Avec ses onze titres originaux teintés de bluegrass et de high lonesome sound, ce premier album est aussi authentique que ce qu'on pourrait trouver sur une compilation du Smithsonian Folkway et pourtant, il ne carbure pas qu'à la nostalgie. Les textes sont modernes et on sent dans les mélodies un souci de composition élaboré et personnel. The Sioux, I am Violent, Down, Down, Down... Pas de pastiche, juste des morceaux de grande qualité qui vont droit au cœur. Le 5 juillet au Théâtre Sainte-Catherine. (OL) 4/5 - Nightlife Magazine, July 2008


"Lake of Stew Ain't Tired of Lovin' (Exclaim!)"

Lake of Stew
Ain't Tired of Lovin'
By Rachel Sanders

Giddy-up and grab your banjo, folks, it's time for the hootenanny. On Ain't Tired of Lovin', this eight-piece acoustic string band from Montreal serve up a hearty helping of toe-tapping bluegrass tunes complete with engaging melodies and impeccable musicianship. The band sprang out of a regular Wednesday night jam session at a Montreal café where they perform a completely acoustic set that, by all reports, whips the room into a dancing, clapping, stomping fervour. The members take turns with lead vocals but chime in on rousing full-band harmonies on every track of their debut recording. The Stew cover a lot of ground lyrically, with odes to both the Dalai Lama and the noble armadillo, as well as good natured rants on topics ranging from a late bus to the war in Afghanistan. Several tracks stray from the traditional bluegrass sound, notably the spicy, klezmer-inspired fiddles of "Down Down Down," but regardless of genre, everything on Lake of Stew's menu is warm, rich and satisfying. (Woodhog) - Exclaim Magazine, Aug. 2008


"Lake of Stew / Vol direct (Nightlife Magazine)"

Dans le cadre de son «hootenanny» bimensuel, l'ensemble country local Lake of Stew est entassé sur la petite scène du café le Cagibi, dans le Mile-End. Ce soir, ils ne sont que six. La plupart du temps, ils sont huit. Mais ils ont aussi déjà été onze.

Dans l'assistance, ça ondule de la tête et ça chantonne. Un quidam pompette interrompt régulièrement le show. «D'où viennent ces chansons? De la Georgie des années 60?» «Non, c'est de nous.» Dehors, il fait beau mais des averses torrentielles ont arrosé la province la veille et les pannes d'électricité continuent de sévir. Ce qu'on craignait arrive: les lumières s'éteignent et le quartier est soudainement plongé dans le noir. Mais Lake of Stew continue de jouer. Sur scène, il n'y a en effet aucun ampli ni micro. Un employé du Cagibi vient allumer des bougies de bord en bord de la scène. La soirée vient juste de prendre le meilleur tournant possible.

***

«Je cherchais un moyen d'expression plus simple, plus direct», explique Richard Rigby, chanteur et mandoliniste, à propos de ce qui l'a emmené vers le country. Actif sur la scène montréalaise depuis 1985, il a fait partie de Shine Like Stars, duo indie-pop des années 90 surtout connu pour avoir participé à l'album Glee de Bran Van 3000. Il a démarré Lake of Stew vers 2001-2002 («c'est flou») avec d'autres vétérans de la scène indie qui, comme lui, étaient en quête d'épuration: son frère Mike et Brad Levia, du groupe Holy Moly, de même que l'ex-Tiny Green Specks et Sex With Furniture Daniel McKell. «On aimait le punk parce qu'on pouvait chanter à propos de n'importe quoi, mais on sentait le poids de ce masque de distorsion. On se disait que la même liberté serait possible avec le folk, mais qu'on pourrait rejoindre plus de gens sans cette barrière de bruit.»

DU SALON À LA SCÈNE
L'affaire demeurerait un trip de salon longtemps, avec des entrées et sorties de musiciens qui se sont poursuivies jusqu'à cette année. «Olivier Adoue, notre joueur de banjo, s'est juste pointé un jour en disant: ‘‘j'ai entendu dire qu'il y avait un jam ici!'' Et il n'est jamais parti!», relate Brad. «Au départ, on ne jouait que pour nous-mêmes, et c'est encore le cas. Mais un jour, Annabelle (Chvostek, violoniste) a eu l'idée d'aller faire notre pratique hebdomadaire une semaine sur deux devant public. Ça nous a rendus meilleurs parce que la présence d'un public force à donner plus», explique Richard. La contrebassiste Julia Narveson et l'accordéoniste Dina Cindric complètent la troupe.

Originalement motivée par l'idée de jouer de façon purement acoustique («c'est tellement direct, le public n'a pas le choix de s'impliquer»), l'équipe a fini par adopter l'aspect traditionnel de la chose. «On s'est vraiment mis à vivre, à chercher, à écouter cette musique. Ça nous inspire parce que la mentalité est la même que celle du punk. Ça m'a emmené à découvrir le folk revival des années 60, comme les Greenbriar Boys, ou encore Bill Munroe, le père du bluegrass. Brad s'est mis à écouter les «jug bands» (ndlr: ces groupes des années 20 et 30 qui jouaient sur des instruments fabriqués)». Mais Lake of Stew est loin de donner dans le pastiche ou la nostalgie. Ses morceaux sont invariablement modernes. «J'adore les chansons de train, avec leurs notes tenues super longtemps, mais les trains ne font pas partie de ma vie. J'ai donc adapté le concept en faisant une chanson sur l'autobus 105, qui se rend dans NDG», illustre Brad. «Une de mes plus récentes chansons parle de graffitis et j'y cite KRS-One. Étrangement, ça marche», complète Richard.

En mai, l'octuor lançait un premier album, Ain't Tired of Lovin', au tirage confidentiel mais qui a soulevé des réactions unanimes. «La responsable de la discothèque de la CBC nous a envoyé une note pour nous dire à quel point elle l'avait aimé. Elle n'avait pas à faire ça!» s'étonne Richard. Ce genre d'écho, provenant aussi bien des milieux folk que hipster, porte Lake of Stew à croire qu'ils ont bien fait de sortir du salon. «C'est tellement un bon feeling de jouer et de voir tout le monde sourire, remarque Richard. Les gens sont surpris. Il y a un élément de tradition, mais c'est aussi nouveau. Certains emmènent leurs grands-parents, leurs enfants. On est assez fiers de tout ça!»

Le 13 septembre à la Sala Rossa avec The United Steel Workers of Montreal, Bud Rice et The Unsettlers
À tous les deux mercredis au Cagibi
lakeofstew.ca

par Olivier Lalande - Nightlife Magazine, June 2008


"Lake of Stew Ain't Tired of Lovin' (Voir)"

Lake of Stew

Ain't Tired of Lovin'

(Woodhog)

Maintenant que Johnny Cash vous a convaincus que le country n'avait rien de quétaine, il est temps de plonger dans les racines de la musique folk traditionnelle. Nous pourrions vous diriger vers les albums de Woody Guthrie, de Bill Monroe ou de la famille Carter, mais nous serons un peu plus chauvin. Tendez l'oreille au premier disque de la formation montréalaise Lake of Stew qui capture toute l'essence de la culture bluegrass. Dobros, violons, mandolines, banjos, guitares et accordéons s'unissent pour recréer cette ambiance de veillée de perron digne des années 40. Un must pour tous ceux qui ont aimé la trame sonore du film O Brother, Where Art Thou? Le 8 août à la Sala Rossa. 4/5

par Olivier Robillard Laveaux - Voir, August 2008


"Lake of Stew Ain't Tired of Lovin' (The Coast)"

It's rare to stumble upon a CD so well suited to repeat listens on the kitchen stereo. Nine bluegrass-playing Montrealers take turns singing joyfully down-and-out songs about missing buses, having their hearts broken and repaired, motels, armadillos and the Dalai Lama. The lyrics are great---funny and earnest, sometimes simultaneously. Highlights include "Mary Margaret" ("I spoke with Mary Margaret, she said love will come again"), Annabelle Chvostek's "The Sioux" and the mantra "Om mane padme hum" in "Dalai Lama." The album was recorded live off the floor, with no overdubs, giving the group harmonies a warm, live sound.

By Sarah Greene - The Coast, January 29, 2009


"Lake of Stew (ICI)"

Le collectif indie folk montrealais Lake of Stew se mouille finalement en lancant Ain't Tired of Lovin'. Un premier album ou le chanteur et mandoliniste Richard Rigby et ses acolytes on pris leur temps pour faire bouillir leurs compositions, pour que la sauce prenne bien. Apres des annees a peaufiner leurs pieces sur les scenes de la metropole, les membres de la troupe captaient finalement leurs chansons sur ruban a la fin de l'annee 2007. Deja compare aux autres grands revivalists du genre a la Old Crow Medicine Show et The Averett Brothers, Lake of Stew pourrait bien traverser les oceans grave a Ain't Tired of Lovin', A suirvre! (Andre Peloquin) Lancement en compagnie de Mike O'Brien. La Sala Rossa. Ven 16 mail. 20h30 - ICI, May 15, 2008


Discography

Ain't Tired of Lovin' (Woodhog 2008)
Sweet as Pie (Dare to Care Records 2009)

Photos

Bio

LAKE OF STEW is a friendly, six-piece acoustic string band from Montreal, Quebec. They sing all original, new songs, featuring great big vocal harmonies. Lots of people call their sound old-timey, but it ain't, it's new-timey, though it does recall a lot of old traditions all blended together. If you need a name to put to their sound, you wouldn't go wrong with "good-timey". Their live shows are energetic and fun, inspiring audiences of all ages to sing and clap and wiggle along.

They can play short sets, or play all night long.
Because they play acoustically, they can play on big stages with mics and PA systems, or in barns that don't even have electricity!