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Minnesota was always my Seattle.

I mean, think about it. For my generation the music that springs from that magical state right below Ontario and Manitoba has always been head and shoulders above all the Grunge bands from Washington State combined.

Bob Dylan, Husker Du, the Replacements, Prince, Soul Asylum, Golden Smog and the Jayhawks. Heck, even filmmakers Joel and Ethan Cohen are from Minnesota.

Gary Louris, who appears at the Moto Craft Festival at Base31 next weekend for a very special acoustic brunch performance, is a founding member of the Jayhawks.

I first saw the Jayhawks in 1985 when a friend insisted we go to see them at the Ultrasound Showbar in downtown Toronto. They played an amazing set of music and then backed up a stunningly great singer-songwriter named Joe Henry. I still think of that as one of the best shows I have ever seen.

I had a couple of takeaways from that show. Here, in the midst of 1980’s slick, synthesized and drum-machine-adorned music, was a perfect band. Two guitars, bass and drums playing real rock and roll like my other favourite Minneapolis band, the Replacements.

Except, unlike the occasionally shambolic Replacements, the Jayhawks had perfect vocal harmonies and, in Gary Louris, a lead guitarist to be reckoned with. I had no idea that anyone could pull those impressive sounds and melodies from an old Gibson SG.

Over the years I have followed the Jayhawks and Gary Louris. Members of the original group have come and gone, but at core the original spirit of the band endured in Louris’ songs and vision.

Louris is also an in-demand collaborator who has worked with an impressive list of artists over the years. He wrote hit songs for the Chicks (“Everybody Knows”) and the Tedeschi-Trucks Band. He has collaborated with Jacob Dylan, Counting Crows and Lucinda Williams.

Of course, as a Canadian, my personal favourite collaboration is the two albums Louris produced for the amazing Toronto band the Sadies, New Seasons (2007) and Darker Circles (2010).

Since marrying a Canadian and moving to Canada in 2020, Louris is often seen joining the Sadies onstage. Those evenings are indeed special.

While the Jayhawks are on hiatus, Gary Louris has used his time in his home studio to write a beautiful acoustic song cycle, a love letter of sorts to his new wife, and to the joys of finding love in later life.

Dark Country (2025) is Louris’ third solo album. He will be performing many of its songs, as well as Jayhawks classics, when he plays at Base31. If you love beautiful acoustic music and pure rock and roll, this is definitely one show you do not want to miss.

Gary Louris performs on Sunday, July 26th at 12:15 pm at Base31. See Moto Craft for
tickets.

3a:T1cce,

I first discovered Fred J. Eaglesmith in 1989 at the Festival of Friends in Gage Park, Hamilton. My band, Grievous Angels, was playing there too, and we ended up swapping songs on a workshop stage with Fred and his band at the time, the Flying Squirrels.

To say that our eyes were opened that sunny Saturday would be an understatement. Fred and his trio played one amazing song after another, while taunting the audience and insisting on introducing our frontman, Charlie Angus, as ‘Chuck Norris’ when it was our turn to share a song.

Like so many others before and since, we almost immediately became Fred Heads: die-hard fans.

While many people are familiar with the work of Eaglesmith, there are still some people who have not had the pleasure of discovering this 68-year-old Canadian gem.

Since that day I have seen Fred many times; we have played at several festivals together. I have studied his albums, and heard many, many versions of his songs sung with varying degrees of gusto at song circles and campfire singalongs.

While many people are familiar with the work of Eaglesmith, there are still some people who have not had the pleasure of discovering this 68-year-old Canadian gem.

Those in the know will tell you the familiar story: a young boy from a large religious family discovers Elvis. He starts playing guitar and writing songs at age 10, then runs away from home at 16 with dreams of becoming the next King of Rock and Roll, or at least the next Woody Guthrie.

Fred recorded his first album in 1980 at the age of 23. By 1992 he solidified his first touring and recording band, the trio Flying Squirrels. The original lineup included bassist Ralph Schipper who worked with Eaglesmith from 1975 until he retired from touring in the year 2000, and multi-instrumentalist Willie P. Bennett.

Bennett was himself an accomplished singer-songwriter with many classic songs and several albums recorded under his own name when he joined Eaglesmith’s band. The partnership between these men was exceptionally strong. Bennett stayed in the band for over 20 years playing mandolin, harmonica, and singing back-up vocals until health problems prevented him from touring. Sadly, Willie P Bennett passed away in 2007.

Eaglesmith’s songwriting has evolved and developed over the years, but at heart his songs manage to retain a strong moral core. While players have come and gone and the name of the band has changed more than a few times over the past 40 years, the songwriting and storytelling remain unique.

They are tender, sometimes rocking, songs about the struggles of rural people and men of a certain age and situation. Characters are often facing times of isolation and quiet despair with resignation and a degree of humour.

As Eaglesmith’s long-time producer Scott Merritt has noted, the stories Eaglesmith tells are believably told. When he sings he convinces the listener that the songs come from lived experience.

On records, the music has changed with each collection. Over the years, recording engineer and producer Merritt has employed techniques that sonically enhance the stories.

Early albums like the Juno-Award-winning Drive-in Movie (1997) were traditional studio recordings, but Dusty (2004) has Fred singing with a string quartet. For the album 6 Volts (2021), the entire band recorded live through one vintage RCA ribbon microphone into a mono-analogue tape recorder.

The album Cha Cha Cha (2010) is self-explanatory.

Live, the music of Fred Eaglesmith is not folk, although it is folk-based. It is not country either, even though some of today’s biggest country stars like Alan Jackson and Toby Keith have recorded Eaglesmith’s songs. Probably the best classification might be ‘alternative’, or perhaps what is termed ‘outlaw country’ south of the border. That said, the show on Saturday night was definitely a Rock-and-Roll event. Eaglesmith brought a collection of old and new songs to life with a band that made a joyful noise.

A Continuous Career

Fred himself was in fine form, if a little bit more mellow than in years gone by. Sure, he riffed like Lenny Bruce on familiar Fred themes like teachers, the Blue Skies folk festival crowds and how much he dislikes the Compass Point Theatre in Nepean.

But for the most part, the often miserable bastard of yore seems like a thing of the past.

He performed a rap song about losing his phone complete with an interpretive dance, and got the audience to participate in a Christmas sing-along about elves.

Perhaps part of the mellowing is a result of Eaglesmith’s 12-year marriage to singer/multi-instrumentalist Tiff Ginn. He talked about the joys of love and matrimony a lot on Saturday night.

Tiff Ginn at the Regent (Photo: Logan Somers

Ginn, a Texan and talented singer-songwriter, along with her multi-instrumentalist sister Britani, joined Fred’s band in 2009. Fred and Tiff began writing songs and performing together while Britani retired. In 2014 Fred got married, broke up his band and began touring with Tiff as a duo.

After a four-year hiatus beginning in 2020, Fred now has a new band that prominently features his wife’s amazing singing, guitar, ukulele and accordion. Her presence, musicianship and energy add a depth to the songs last seen when Willie P. Bennett was a member of the band.

Eaglesmith noted he has gone through 12 tour buses over the course of his career. He told the audience how much he loves travelling around to as many small and midsize communities as he can, places like Sioux Lookout and Manitoulin Island.

He would rather travel to any small town where a few hundred people would be happy to see him than to play in huge stadiums. He spoke of the joy of being a 68-year- old fronting a great rock and roll band.

And what a great band it is. The performance was totally spontaneous. Nothing Fred said sounded rehearsed, even if he did explore many of his favourite tropes during his often achingly comic monologues.

While The Regent is still a fantastic venue to enjoy a movie, the acoustics and sightlines are perfect for live music and spoken word events. Many great concerts are booked. Don’t miss out on an opportunity to enjoy this fantastic local setting.

3b:T1339,

I first met James Keelaghan at the Rogue Folk Club in Vancouver in 1989 or 1990. He was already an established performer with a large fan base. My band, Grievous Angels, was on a mission to discover Canada by crossing the country in a battered van as often as we could. James Keelaghan was doing the same thing. Over the next few years we would meet at different venues and folk festivals across Canada.

At the time, Canadians were grappling with their identity. What did it mean to be a Canadian? This was the time of Ronald Reagan, Margaret Thatcher and Brian Mulroney. Dark times. We listened to Peter Gzowski on CBC radio and argued amongst ourselves. The West, Quebec, the Maritimes, and Ontario were all pieces of the puzzle we were trying to put together. Did they even fit together at all? What about Newfoundland?

Is there one Canada or many? Stan Rogers, our great hero, had passed away, and Stompin’ Tom had retired. A new generation was reaching for the torch they had passed. Meeting our peers from different parts of the country was an amazing experience, especially if it happened somewhere like Yellowknife or Whitehorse and there were boxes of warm beer for the performers. And everyone stopped to listen when James sang a song.

So, needless to say, the crowd that braved a blizzard earlier this month to gather at the Sergeants Mess at Base31 were rewarded with a powerful evening of stories and songs from one of Canada’s best singer-songwriters.

The bass work and background vocals of David Woodhead, himself a legend in Canadian music, met Keelaghan’s guitar playing and beautiful baritone voice more than halfway. As a bass player myself I have always been in awe of both Woodhead’s sound and melodic inventiveness.

Coming from a large immigrant family of Gaelic and Celtic descent, Keelaghan acquired his interest in history and politics around the dinner table. Having a large family also ensured that he was exposed to the music beloved by his older siblings. Bruce Cockburn and Gordon Lightfoot albums were just as important as the Dubliners and Clancy Brothers records his parents listened to. He also developed a deep love and respect for the legacy of the late Stan Rogers.

Originally from Calgary and now living in Ontario, James Keelaghan has been writing, performing and recording for well over 35 years. His lyrics are beautifully crafted and reflect a deep love of history and character. They examine the way people react to situations in their daily lives and interact with each other. Many of them reflect the search for the elusive Canadian Identity.

During the Base31 performance, Keelaghan ranged through a selection of songs from almost all of his 13 albums. One of the most poignant was Kiri’s Piano.

The song tells the story of a mother confronting her imminent internment as a Japanese Canadian during the Second World War. Told from the perspective of a neighbour who covets Kiri’s piano, it examines the banality of evil and how Kiri thwarted the attempt to take her prized possession.

To add further gravitas, James played it on a 1905 Martin 0-21 guitar that once belonged to a sailor, Eugene Peck, who was killed at Pearl Harbour. His guitar was rescued from the battleship Nevada and returned to Peck’s family, who later willed it to Keelaghan.

Other highlights included the song Hillcrest Mine, about the worst coal mining disaster in Canadian history, in the Crowsnest Pass region of Alberta in 1914. Red River Rising is about the 1870 uprising of the Metis people against the government of Canada in the Red River Valley.

The duo also played a stunning version of Gordon Lightfoot’s Canadian Railroad Trilogy, with both Keelaghan and Woodhead sharing warm reminiscences of time spent in the company of Gordon Lightfoot.

During the concert there were stories of travel in Ireland and many parts of Europe. They sang one of my favourite Keelaghan songs, about the bravery and dedication of the firefighters who fought the 1949 Mann Gulch wildfire in Montana, which claimed the lives of 13 firefighters. This song is just as relevant today, as firefighters continue to risk their lives as huge swaths of forests throughout North America are consumed each year by wildfire.

Both the songs and the stories captivated the audience. Throughout the evening there was much laughter — and moments when there was hardly a dry eye in the house. As a duo the interplay between these two musicians was extraordinary, at times verging on telepathy.

The impression that remained at the end of the evening is that Keelaghan and Woodhead are singing the stories that reflect the Canadian Identity. They are joyfully showing us our history in song. I hope they return to Base31 very soon.

3c:Te2e,

Blessed with the most striking and sonorous baritone voice since Hank Snow left Nova Scotia for fame and fortune, Tom Wilson presented songs and stories from a nearly fifty-year career as a songwriter, guitar-player and singer at Base31’s Sergeants Mess Hall earlier this month

Over the years Mr. Wilson has performed with a large number of bands and has collaborated and written songs with diverse songwriters. At 65 he seems to be at the top of his game.

The large audience was familiar with the material and delighted in songs such as the Junkhouse classic Shine, Lee Harvey Osmonds’ Leave this House, and Blackie and the Rodeo Kings songs such as Boots of Leather and 49 Tons. Wilson sang one of his son Thompson’s songs, and ended the evening with a rocking version of the Dave Dudley country classic, Six Days on the Road.

A gifted raconteur, Mr. Wilson told witty and often poignant stories about everything from his Order of Canada pin, his sobriety, Donna Douglas, to his discovery at age 55 that he had been adopted at birth.

The story of Mr. Wilson’s discovery of his true ancestry forms the basis of his 2017 memoir, Beautiful Scars. In the book he recounts a childhood where he describes feeling like an outsider in the home he shared with his parents Bunny and George Wilson. George was a World War II Canadian Air Force veteran blinded while serving as a tail gunner in a Lancaster bomber. Bunny comes across as a very funny, if often acerbic, character whom Wilson obviously still holds in very high esteem.

A gifted raconteur, Mr. Wilson introduced many songs with witty and often poignant stories about everything from his Order of Canada pin, his sobriety, to his discovery at age 55 that he had been adopted at birth.

Mr. Wilson did not know the truth of his birth until after George and Bunny’s death, when he learned that the woman that he knew as his cousin, Jane, was in fact his birth mother. Jane came from Kahnawake Mohawk Territory outside of Montreal and is of Mohawk as well as a French and Irish Canadian ancestry.

The discovery of his indigenous heritage had a huge impact on Wilson, who has dedicated the past ten years to immersing himself in indigenous culture and working to promote understanding and healing between indigenous and colonial societies through music and art, stories and actions. The message he shares with audiences today is one of tolerance, love, and compassion.

Joining him were an amazingly talented group of musicians. Pianist Jesse O’Brian added many memorable solos, and Mr. Wilson’s son, Thompson, played bass and harmonica, and sang harmony and co-lead vocals on many tunes. Mr. O’Brian has played with a veritable who’s who of Canadian and international musicians, most notably Colin James. Thompson Wilson is a talented songwriter and performer in his own right.

As a special treat, Quinte’s own Ray Farrugia joined the trio to add some magnificent drumming and percussion. Mr. Farrugia was introduced as Tom Wilson’s oldest friend. He has played in many of Mr. Wilson’s bands including Junkhouse and Lee Harvey Osmond.

Tom Wilson has a rare ability to connect with audiences using a combination of humour, vulnerability and in-your-face rock and roll bravado. It was fantastic to experience him and his band in such a warm, intimate setting. I hope he returns to the County very soon.

3d:T1174,

The album Sgt. Pepper’s Lonely Hearts’s Club Band has been, as it says in the song, going in and out of style since it was released in June 1967.

For many years, the album topped critic and fan best-album lists, placing it at number one, not just among Beatles albums, but as the best album ever released in the history of rock and popular music. On the occasion of its 50th anniversary, theatre critic Kenneth Tynan called Sgt. Pepper “a decisive moment in western civilization.”

Today there is a lot less hyperbole. Recent reissues of remixed and remastered Beatles albums have pushed Revolver (1966) and Abbey Road (1969) to the top spots on many critic lists and in fans’ hearts.

This is part of the reason why the Art of Time Ensemble’s performance of Sgt. Pepper at Base31’s Drill Hall last week was such a revelation: it offered the album in a brand new light. Artistic Director Andrew Burashko commissioned new arrangements of the songs that reimagined them as chamber music, while maintaining the original vocals and harmonies.

The Ensemble included twelve musicians and four singers. Mr. Burashko played piano and was joined by two violins, two violas, two cellos, and a rhythm section of bass, guitar and percussion, as well as a trumpet and a woodwind. The vocals featured four Canadian pop icons: Steven Page, Chris Murphy, Andy Maize and Jeremy Fisher.

I think these four singers have waited their whole lives to be asked to sing Beatles songs, and each of them is an amazing vocalist. Steven Page naturally took on the role of Paul McCartney to Chris Murphy’s John Lennon and Andy Maize’s George Harrison, although all four singers contributed equally, singing both lead and harmony vocals.

As Mr. Page pointed out at the beginning of the show, two songs were recorded for the Sgt. Pepper album but were released as a double A side single not included on the final album. One of these songs, “Strawberry Fields Forever,” set the tone for the concert: psychedelic music with sweeping strings, orchestral percussion, subtle guitar and stabbing horns. This was not a tribute show by musicians slavishly copying from the record. This was a whole new concept altogether. The audience responded enthusiastically.

There were many highlights, particularly “Getting Better,” “She’s Leaving Home” and “Within You, Without You.” The orchestra was tight, with some marvellous playing from woodwind wizard John Johnson who played clarinet, oboe and several different saxophones. Never mind the amazing guitar work of Rob Piltch, and Mr. Burashko’s piano.

When the final chord of “A Day In The Life” sounded through the Drill Hall it was clear that the audience wanted more. The Ensemble was happy to oblige; Steven Page performed a show-stopping version of “Oh, Darling” and Andy Maize sang a beautiful “Here Comes The Sun.”

The sound in the packed Drill Hall was very good. The mix was excellent. Every voice and instrument could be heard clearly. A splendid time was had by all, as was evident from the impressive dancing from Andy Maize and Steven Page and the standing ovation at the end of the evening. The men and women in the orchestra had a blast performing with the Ensemble, and the audience responded, creating a thrilling evening.

The concert was a co-production between Base31 and Biglake, and a teaser for its summer festival, “Evolution,” which takes place the last week of August in various venues around the County. This concert was a perfect vision of just how stunning Evolution can be.

3e:Tca8,

On a lovely warm early summer evening at Base31 on the Canada Day long weekend, lots of people were exploring the futuristic and interactive environment of the Commissary or wandering the extensive, interesting collection of barracks on the grounds. For fans of folk and traditional music it was also an opportunity to gather at the Sergeants Mess Hall to hear the songs of Scottish-born Canadian songwriter David Francey.

Mr. Francey is a true working class hero. He moved with his family to Canada when he was twelve. In his youth he worked construction and as a carpenter, lumberjack and rail-yard hand — until he was encouraged by his wife Beth to share his poetry and songs with the public.

David Francey had always written poetry and songs that he sang to himself as he worked. While he never imagined making a living from writing and performing music, his first album, Torn Screen Door (1999), was a hit in Canada. What followed was a career that has spanned thirteen albums, four JUNO Awards, three Canadian Folk Music Awards, as well as many international songwriting prizes. He has collaborated with numerous singer-songwriters, and his songs have been covered by many artists across several genres.

At the Sergeants Mess, Mr. Francey played a number of songs from last year’s excellent The Breath Between. The album, a watershed for this songwriter, came out of a period of personal strife.

Several years ago, vocal concerns resulted in doctor’s orders to stop singing completely to allow the strained muscles in his throat to heal. Vocal rest and voice exercises worked, and now Mr. Francey is back, singing his songs and telling stories for very appreciative audiences. Certainly, the crowd at the Mess Hall was enthusiastic, to put it mildly.

Mr. Francey is a wonderful raconteur. His stories about the songs are as entertaining as the songs themselves — and sometimes longer, not to mention funnier. Many of the new songs are about love and loss. As he put it, we are all living in the breath between our first and last, so it’s very important to hold dear the people who went ahead of us, and to continue to love and make memories.

Many of the songs are tender, love songs written to and about Beth, his wife of many years. Many others were written for friends and others who have gone on ahead.

“Just Before Christmas” is a moving song about the sinking of the scalloper, the Chief William Salis, in the Bay of Fundy in 2020. “This Morning” was written on April 8th 2020, the day John Prine passed away.

During the second set, Mr. Francey played many of his popular songs, such as “Come Rain or Come Shine” and “Broken Glass” (both 2003), with the whole audience joining in to sing along.

Two absolutely incredible musicians joined in. Jess Wedden played the fiddle, mandolin and bouzouki and Chris Murphy handled the guitar and vocal harmonies. This trio of musicians is amazing together, with Ms. Wedden and Mr. Murphy expertly adding poignancy and depth to the songs. Hopefully Base31 will continue to book musicians of this calibre at this venue.

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Gary Louris (Photo: Steve Cohen)

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Fred Eaglesmith (Photo: Logan Somers

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James Keelaghan and David Woodhead at Base31 (Chantal Jeffrey)

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Tom Wilson at Base31 (Photo: Stuart Roberts)

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The Art of Time Ensemble, featuring Andy Maize, Steven Page, Chris Murphy, and Jeremy Fisher (Photo: Logan Somers)

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David Francey and Chris Murphy (Photo: Stuart Roberts – Photo Roadies)

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Tim Hadley

Life in Prince Edward County

September 26, 2026

14° Mainly Clear