Tag: Juno Award

New Video: Tanika Charles Teams Up with DijahSB on a Strutting and Triumphant Bop

Two-time Juno Award-nominated and Polaris Prize listed, Toronto-born and-based Trinidadian-Canadian singer/songwriter Tanika Charles spent a formative part of her life in Edmonton, when energy sector opportunities brought her family there. But whether they were in Toronto or Edmonton, music was a constant presence in the Charles household: Her father would return from two weeks on site with the latest jazz records for Tanika and her brothers to play and jam out along.

Several years later, Tanika’s eldest brother would be the first to coach her on how to sing and how to record a song. As a young adult., Charles relocated to Vancouver, where she picked up gigs as a backing vocalist and got a taste of tour life. When she returned to her birthplace, the Trinidadian-Canadian artist’s long-held dreams of becoming a professional artist began to come to fruition: She assembled her first backing band, and with that band recorded her debut EP What? What! What?! With the release of her debut EP, Charles quickly became a local scene fixture.

Back in  2016, Charles independently released her full-length debut Soul Run within her native Canada. The album was sensation nationally, with the album receiving a Polaris Music Prize nomination and a Juno Award nomination for Best R&B/Soul Recording of the Year. The following year, Italian purveyors of funk and soul Record Kicks released Soul Run internationally to critical applause from the likes of Exclaim!, Music Republic Magazine and others. Album singles like “Endless Chain,” “Love Fool,” and album title track “Soul Run” received regular radio rotation on stations across Canada, the US, the UK and France.

Charles’ sophomore album, 2019’s The Gumption was released through Record Kicks. The 12-song album picked up where Soul Run left off, further establishing the Canadian artist’s sound and approach in which classic soul is mixed with modern production. Thematically, the album saw Charles tackling moments of vindication, uncertain love, forbidden fruit and the state of the world. “It’s a little more mature,” Tanika said at the time. ““It’s not feeling guilty about being up front, not being afraid to address situations that aren’t comfortable for me. I’m comfortable in my skin now in a way I never was before.” The Gumption was long-listed for the 2019 Polaris Music Prize and nominated for the 2020 Juno Awards R&B/Soul Recording of the Year.

Along with her latest backing band, The Wonderfuls, Charles has toured across Canada and eight other counties to support Soul Run and The Gumption. Those tours have prominently featured stops across the local, national and global festival circuits, including Rennes Trans MusicalesNXNELärz FusionPop MontrealCanarias Jazz FestivalCBC Music FestivalTD Toronto Jazz FestBirmingham’s Mostly Funk, Soul and Jazz Festival, the Pan Am Games and a list of others.

The Canadian artist’s music has appeared on HBO’s Less Than Kind, ABC’s Rookie BlueThe CW’s SeedCTV’s Saving HopeCBC’s Kim Convenience and Workin’ Moms and a nationally broadcast KFC ad campaign. She also has appeared as a reoccurring guest on CBC Kids and as a lounge singer on Global TV’s Bomb Girls. Between a busy schedule as a touring musician, Charles appeared in the touring production of Freedom Singer in 2017. She returned to that role in February 2019’s Now We Recognize

Charles’ third album Papillon de Nuit: The Night Butterfly is slated for an April 8, 2022 release through Record Kicks. The album, which features guest spots from Toronto-based emcee DijahSB and multi-disciplinary artist Khari McClelland was written and recorded during and after pandemic related lockdowns and restrictions. Much like its immediate predecessor, the forthcoming album is reportedly anchored in growth and maturity. 

The album’s title is derived from an unlikely source, a creature that soars after the sun has set, but often goes unnoticed until light is shone on it. Referred to as “papillon de nuit” by some, the animal is more commonly known as a moth, possibly revealing a linguistic bias. “I always thought it was a strange insect,” the acclaimed Canadian artist says in press notes. “Once while in Paris, a friend swatted at one and I asked: ‘Was that a moth?’. I was told: ‘No, that’s a papillon de nuit.’ I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we’ve all been going through.”

Last month, I wrote about the funky, old-school soul-inspired bop “Rent Free,” a fiery tell-off to the energy sucking vampires, deadbeats, naysayers, haters, time wasters and other shitty people of life, centered around Charles’ effortless, Motown era-like delivery. We’ve all had those sorts in our lives, and this song is the sort of song that tells you that it’s okay to push those toxic people out of your life for you to feel better — or to succeed.

The album’s latest single “Different Morning” is a collaboration that features Toronto-based emcee DijahSB, whose album Head Above the Waters was featured in Exclaim Magazine‘s Top 50 Albums of the year and landed a Juno Award nomination — and a performance slot at the award show. Sonically speaking, “Different Morning” is a slick and strutting synthesis of Larry Levan-like house and neo-soul centered around twinkling Rhodes, a sinuous bass line, swinging J. Dilla-like beats, and ebullient horn blasts. And over that celebratory two-step inducing production, Charles contributes soulful vocals that gradually build up confidence with a celebratory and triumphant verse from DijahSB.

“So much of our days are spent dwelling on the same mistakes, the same misfortunes. That thing we wish didn’t happen, or what we wish we hadn’t done,” Tanika Charles explains in press notes. “‘Different Morning’ is about starting a new day without that baggage, about finding a way to correct course and move past it. What starts as a pitiful interior monologue evolves into a celebration of getting over that hump by being your biggest cheerleader. DijahSB is someone who was able to carry that triumphant spirit that the second half of the song needed. ‘I’m alive today’ is enough of a blessing, enough of an accomplishment, and enough to be thankful for.”

Directed by Cazhhmere, the accompanying video for “Different Morning” features the Canadian artists in a lush, Alice in Wonderland-like maze at night dancing and rocking out to the song. Shit, I wish I could join them because they’re having fun, and just enjoying the moment.

Two-time Juno Award-nominated and Polaris Prize listed, Toronto-born and-based Trinidadian-Canadian singer/songwriter Tanika Charles spent a formative part of her life in Edmonton, when energy sector opportunities brought the family there. But whether in Toronto or Edmonton, music was a constant presence in the Charles household: Her father would return from two weeks on site with the latest jazz records for Tanika and her brothers to jam out to.

Several years later, Tanika’s eldest brother would be the first to coach her on how to sing and how to record a song. As a young adult., Charles relocated to Vancouver, where she picked up gigs as a backing vocalist and got a taste of tour life. When she returned to her birthplace, the Trinidadian-Canadian artist’s long-held dreams of becoming a professional artist began to come to fruition: She assembled her first backing band, and with that band recorded her debut EP What? What! What?! And with the release of her debut EP, she became a local scene fixture.

In 2016, Charles independently released her full-length debut Soul Run within her native Canada. The album became a national sensation, with the album receiving a Polaris Music Prize nomination and a Juno Award nomination for Best R&B/Soul Recording of the Year. The following year, Italian purveyors of funk and soul Record Kicks released Soul Run internationally to critical applause from the likes of Exclaim!, Music Republic Magazine and others. Album singles like “Endless Chain,” “Love Fool,” and album title track “Soul Run” received regular radio rotation on stations across Canada, the US, the UK and France.


Charles’ sophomore album, 2019’s The Gumption was released through Record Kicks. The 12-song album picked up where Soul Run left off, further establishing the Canadian artist’s sound and approach in which classic soul is mixed with modern production. Thematically, the album saw Charles tackling moments of vindication, uncertain love, forbidden fruit and the state of the world. “It’s a little more mature,” Tanika said at the time. ““It’s not feeling guilty about being up front, not being afraid to address situations that aren’t comfortable for me. I’m comfortable in my skin now in a way I never was before.” The Gumption was long-listed for the 2019 Polaris Music Prize and nominated for the 2020 Juno Awards R&B/Soul Recording of the Year.

Along with her latest backing band, The Wonderfuls, Charles has toured across Canada and eight other counties to support Soul Run and The Gumption. Those tours have prominently featured stops across the global, national and local festival circuits, including Rennes Trans Musicales, NXNE, Lärz Fusion, Pop Montreal, Canarias Jazz Festival, CBC Music Festival, TD Toronto Jazz Fest, Birmingham’s Mostly Funk, Soul and Jazz Festival, the Pan Am Games and a list of others. Her music has appeared on HBO’s Less Than Kind, ABC’s Rookie Blue, The CW’s Seed, CTV’s Saving Hope, CBC’s Kim Convenience and Workin’ Moms and a nationally broadcast KFC ad campaign. She also has appeared as a reoccurring guest on CBC Kids and as a lounge singer on Global TV’s Bomb Girls. Between a busy schedule as a touring musician, Charles appeared in the touring production of Freedom Singer in 2017. She returned to that role in February 2019’s Now We Recognize.

Charles’ third album Papillon de Nuit: The Night Butterfly is slated for an April 8, 2022 release through Record Kicks. The album, which features guest spots from Toronto-based emcee DijahSB and multi-disciplinary artist Khari McClelland was written and recorded during and after pandemic related lockdowns and restrictions. Much like its immediate predecessor, the forthcoming album is reportedly anchored in growth and maturity.

The album’s title is derived from an unlikely source, a creature that soars after the sun has set, but often goes unnoticed until light is shone on it. Referred to as “papillon de nuit” by some, the animal is more commonly known as a moth, possibly revealing a linguistic bias. “I always thought it was a strange insect,” the acclaimed Canadian artist says in press notes. “Once while in Paris, a friend swatted at one and I asked: ‘Was that a moth?’. I was told: ‘No, that’s a papillon de nuit.’ I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we’ve all been going through.”

Papillon de Nuit: The Night Butterfly‘s first single is the funky and strutting old-school inspired soul bop “Rent Free.” The song is a fiery tell off to energy sucking vampires, deadbeats, naysayers, time wasters and other shitty people centered around Charles’ effortless, Motown era-like delivery. We’ve all had those sorts in our lives, and this song is the sort of song that tells you that it’s okay to push those toxic people out of your life.

New Video: Follow Haitian-Canadian Artist Wesli and Paul Cargnello on a Trip Through Haiti

Port-au-Prince, Haiti-born, Montreal-based singer/songwriter, guitarist and producer Wesli– born Wesley Louissant — has had the sort of musical journey that should be made into an inspiring biopic: he’s gone from stringing up an oil can with nylon fishing line to becoming a critically applauded, award-winning artist who has developed and honed a sound that features elements of voodoo, rara, roots reggae, Afrobeat and hip-hop through the release of three albums 2011’s Liberté dans le noir, 2015’s Immigrand and Ayiti Ètoile Nouvelle and 2018’s Rapadou Kréyol. Those four albums have found him collaborating with a talented collection of Canadian artists including Tiken Jah Fakoly, Paul Cargnello, and Malika Tirolien.

Since winning the Radio Canada Revelation Award back in 2009-2010, Louissant has collected a bevy of various awards including the Babel Med Music Prize in 2010, SOCAN’s Hagood Hardy Award in 2016, an award from the Académie Charles Cros in 2019, a World Music JUNO Award in 2019, a Félix Award for Album of the Year in World Music and a Canadian Folk Music Award (CFMA) for World Solo Artist of the Year in 2020. Adding to a rising international profile, Louissant has toured across North America, Colombia, Brazil, Europe and his native Haiti while playing sets at WOMEX, Mundial Montreal and Cape Verde’s Atlantic Music Expo.

Louissant’s fifth album, reportedly will be more electronic leaning and is slated for a fall release through Cumbancha Records. But in the meantime, his latest single “Le Soleil Descend” (The Sun Goes Down” in English) is an infectiously upbeat and breezy synthesis of reggae, traditional Haitian music, reggaeton and hip-hop centered around the rising Haitian-Canadian artist’s easygoing vocals, shimmering guitar, a rousingly anthemic sing-along friendly hook and a equally good times/good vibes verse from Paul Cargnello. It’s a summer anthem that evokes the irie vibes that we all need right this moment.

The recently released and gorgeously shot video for “Le Soleil Descend” follows Louissant through Port-au-Prince and the Haitian countryside as the sun slowly starts to set. The visual offers a simple yet beautiful slice of every day Haitian life, as we see Louissant walking down the streets with his guitar, digging the scenery around him. How can you not fall in love with beautiful young Black folks in a beautiful place trying to live their lives with dignity and joy?

Megan Nash is a Mortlach, Saskatchewan, Canada-born and-based, Juno Award-nominated, singer/songwriter, whose work has long been influenced by the endless skies, endless dust and howling winds of the Canadian prairies. With 2017’s sophomore album Seeker, Nash and her backing band The Best of Intentions — Dana Rempel (bass), Darnell Stewart (guitar) and Tannerr Wilhelm Hale (drums) — crafted a lush soundscape that thematically touched upon heartache, grief, dreams and desire, while revealing herself as the titular seeker, with the suitcase or backpack they never really empty, whose reach often exceeds their grasp.

In the years since Seeker‘s release, Nash life has taken some tumultuously turns, which have inspired and informed the material she’s been working on. According to the rising Canadian artist, the music she has written over the past few years was written “in the cracks of a foundation — in moments of reflection during years of whirlwind romance, gut wrenching heartbreak, reviving friendships and life-saving dog love.” The end result, which began with the release of “Artifact,” late last year, finds Nash at her most vulnerable and honest.

Nash’s latest single “Quiet” is brooding, hook-driven 80s New Wave-inspired anthem (think Pat Benetar, Kate Bush and the like), centered around glistening synths, a motorik-like groove and shimmering guitars that seems to seethe with the slow-burning frustration of awkward and uneasy silences between lovers, who may be on the verge of a crossroads — while literally at a crossroad. As Nash explains the song is about being deserted by a partner in Saskatchewan’s southern plains. “What an unforgiving horizon Saskatchewan has. It can really draw out a goodbye,” Nash explains. “‘Quiet’ was born out of heartbreak and I hope it serves as an anthem for the lonely, the one left behind.”

‘Quiet’, Megan’s latest track, is about lost love; being deserted by a partner in the southern plains of Saskatchewan, Canada. “What an unforgiving horizon Saskatchewan has. It can really draw out a goodbye,” says Megan. “‘Quiet’ was born out of heartbreak and I hope it serves as an anthem for the lonely, the one left behind.”
When on stage, Megan is joined by her performing outfit The Best of Intentions. Despite its antithesis to the heartbreak at the root of the track, ‘Quiet’ is one of their favourite tracks to play live. “The lyrics are personal and heavy for me yet I want to dance when we play it on stage. It contains two truths – life is pain and life is a party,” she says. The music video bubbles with energy being a how-to-guide on keeping fit on tour. The video shows the group performing their spritely keep-fit in colourful spandex – a revival of 80s jazzercize.

Doubleheader is a collaborative project between Arthur Comeau, a musician and producer, who has released material as Radio Radio, Nom de Plume and under his own name — and multi-instrumentalist, producer and arranger Jean Massicotte, who has worked with Patrick WilsonJean LeloupLhasaArthur HAlejandra Ribera and a lengthy list of others. Interestingly, Doubleheader finds the acclaimed musicians and producers blending a wild mix of ideas, genres and sounds, including beatmaking, DJing, hip-hop, worldbeat, pop and others — as a way of showing the world what pop music can feel and sound like in the 2020s and beyond, continuing a larger push towards a genre-less world. Importantly, the duo’s sound and approach is specifically crafted to be a reflection of the world we should be aspiring to right now — a multicultural world that celebrates diversity in all of its forms.

The Montreal-based act’s 10 song, full-length debut Slim Wall finds the duo collaborating with an equally accomplished collection of Canadian vocalists including 2020 Juno Award-winning artist Dominque Fils-Aimé, 2019 AFRIMA Award-winning artist AfrotroniX, 2020 Juno Award-winner Djely TapaSamito, EIDHZ, Quentin Hatfield and TEKE: TEKE’s Maya Kuroki to create material that eschews genre and language constraints in an interesting yet accessible fashion.

Late last year, I wrote about “Djanto,” which featured achingly plaintive and evocative vocals from acclaimed Malian-Canadian artist Djely Tapa artist over shimmering acoustic guitar, skittering beats, twinkling synth arpeggios and a soaring hook to create a club-banging track with elements of reggaeton and Afropop.  Underneath the euphoric, club friendliness though, the song is actually centered by a thoughtful and much-needed message: we have to take care of our only home — and that taking care of nature involves protecting both animal and human life.

Slim Wall‘s latest single “Criddora,” is a strutting and laid back, sun-kissed jam centered around skittering beats, reggae-like riddims, shimmering and reverb-drenched squiggling guitar blasts paired with Samito’s achingly plaintive vocals, which to my ears, manage to evoke longing and desperate loneliness within a turn of a phrase. Because of our forced confinement and isolation, the song’s ache feels so deeply familiar to me — as it should to you.

“‘Criadora’ is a reggaeton with a deep luso blues flavour and laid back beats and guitars,” the rising Montreal-based duo explain in press notes. “The song tells the story of a tortured man in a state of near-madness searching for relief. Exploring social isolation and stereotyping, Samito offers insight into the perceived discrepancy between what is said about him and what he believes is true.”

Doubleheader is a new collaborative project between Arthur Comeau, a musician and producer, who has released material as Radio Radio, Nom de Plume and under his own name — and multi-instrumentalist, producer and arranger Jean Massicotte, who has worked with Patrick Wilson, Jean Leloup, Lhasa, Arthur H, Alejandra Ribera and a lengthy list of others. Doubleheader finds the acclaimed musicians and producers blending a wild mix of ideas, genres and sounds — including beatmaking, DJinng, hip-hop, worldbeat, pop and others — as aa way of showing the world what pop music can feel and sound like in the 2020s and beyond, continuing artist’s push towards a genre-defying and genre-less world. But more Importantly, their sound and approach is specifically crafted to be a reflection of the world we should be aspiring to — a multicultural world that celebrates diversity in all of its forms.

The Montreal-based act’s 10 song, full-length debut Slim Wall finds the duo collaborating with an equally accomplished collection of Canadian vocalists including 2020 Juno Award-winning artist Dominque Fils-Aimé, 2019 AFRIMA Award-winning artist AfrotroniX, 2020 Juno Award-winner Djely Tapa, Samito, EIDHZ, Quentin Hatfield and TEKE: TEKE’s Maya Kuroki to create material that eschews genre and language constraints in an interesting yet accessible fashion.

Acclaimed Malian-Canadian artist Djely Tapa contributes achingly plaintive and evocative vocals to Slim Wall single “Djanto,’ a track which pairs shimmering acoustic guitar with skittering beats, twinkling synth arpeggios and a soaring hook in a slickly produced club banger that finds the members of Doubleheader meshing elements of reggaeton and Afro pop. But underneath the club friendly, tweeter and woofer rocking thump, the song is centered by a thoughtful and important message: taking care of nature involves protecting both animal and human life.


New Video: Toronto’s Gillian Stone Releases a Psychedelic Visual for Introspective New Single

Gillian Stone is a Vancouver Island-born, Toronto-based singer/songwriter and multi-instrumentalist, who has collaborated on projects by FORCES’ Alli Sunshine, The Fern Tips, Völur and Althea Thauberger — and she’s appeared in music videos for Clear Mortifee, Robert DeLong, Alli Sunshine and Juno Award nominate Tara Kannangara. As a solo artist, Stone’s work uses vulnerability as a way to create a safe space to explore the dichotomy of beauty and discomfort, thematically touching on recovery, the juxtaposition of femininity and imperfection, turbulent feelings and recovery.

Heavily influenced by her background in jazz and ethnomusicology, Stone has managed to have a rather varied creative and professional life: Fascinated by her Icelandic heritage, Stone explored and studied the popular music of Iceland and the icelandic Diaspora in Canada as part of her graduate work in ethnomusicology. The Vancouver-born, Toronto-based artist has studied Javanese and Balinese gamelan; performed with Russell Hartenberger and NEXUS (the principal percussionists of the Steve Reich ensemble) and with Brazilian cavaquinho virtuoso Henrique Cazes. Her upbringing on Vancouver Island led her to Coast Salish hip-hop and the Cascadian bioregion scene. Overall, Stone uses an interdisciplinary approach to explore disparate genres to produce a singular sound.

Stone’s latest single is the atmospheric and dramatic, Michael Peter Olsen-co-produced “Bridges.” Centered around strummed guitar strummed guitar, dramatic drumming and Stone’s achingly vulnerable vocals, the PJ Harvey and Shana Falana-like “Bridges” finds the Vancouver-born, Toronto-based artist telling a story of dissolution, shame and self-flagellation with a bold and unvarnished honesty. “‘Bridges’ is the soundscape of recovery,” Stone says in press notes. “I wrote this song in 2009 after a summer of self-imposed turbulence. I don’t remember exactly when or how I wrote, but it stayed with me and became predictive. For over a decade, I’ve returned to it as a space to a safely express shame. Now it’s morphing into a reminder, a call for self-temperance. I’m still discovering what it means.”

Stone goes on to add the song was co-produced by Micheal Peter Olsen during a cold winter in Olsen’s Toronto-based studio Uncomfortable Silence. “‘Bridges’ follows a journey of dysregulated emotions exacerbated by alcohol abuse,” Stone says. “The e-cello movement is meant to evoke the feeling of losing one’s mind. This is a post=rock night song that ends with a promise of the sun.”

Directed by Emily Harrison, the recently released video for “Bridges” features Stone in the woods and uses mirrors and kaleidoscopic effects to create something both trippy yet introspective. Harrison calls the video “a psychedelic dream inspired by French New Wave film.”

New Video: City and Colour’s Achingly Lonely Visual for “Astronaut”

Throughout the course of 2019, I’ve written quite a bit about the St. Catherines, Ontario, Canada-born singer/songwriter and guitarist, Dallas Green, the creative mastermind behind the acclaimed and commercially successful folk rock/alt country solo-recording City and Colour. Interestingly, Green may arguably be one of the most successful Canadian artists of his generation: he’s won 3 Juno Awards, including two Songwriter of the Year Awards — and in Canada he has 3 Double Platinum-certified albums, 1 Platinum-certified album and 1 Gold-certified album.

Now, as you may recall, Green’s sixth album, the Jacquire King-produced A Pill for Loneliness is slated for an October 4, 2019 release through the acclaimed Canadian singer/songwriter’s Dine Alone Records imprint, Still Records. The album’s first single “Astronaut,” which marks the first bit of new material from Green in over 4 years, and the track manages to be one part slow-burning, honky tonk ballad and one part towering and anthemic hook-driven Slowdive and The Verve shoegaze, centered around a lonely life on the road, far from friends, family and loved ones. “I always think of the relationships in my life that have been fractured because I ended up doing what I do for a living,” Green says of the new single. “I’m always gone, wandering around and singing songs. However, it weighs on my family and friends. I’m asking for ‘one more year.’ I left home at 21 to go play my guitar. It’s lonely, but it’s because I yearn to wander, I’m aware of how lucky I am.”

Directed by Maxxis, the recently released video stars City and Colour’s Green alone in an empty movie theater as space and aeronautical imagery is projected on the big screen — although briefly the astronaut becomes real. The video manages to evoke the aching loneliness at the core of the song: after all, what can be lonelier than an empty movie theater, with your thoughts, regrets and dreams? 

Green will be embarking on an extensive North American tour that will feature back-to-back nights in Nashville, San Francisco, Los Angeles, Boston and New York. One night in each of those cities will take place in a seated theater, featuring Green playing an intimate solo show with stripped down versions of songs across his catalog with Ben Rogers, the first artist to sign onto Green’s new label.  The second night will feature Green and his touring band playing in general admission rock and indie rock venues with Ruby Waters opening. You can check out the tour dates below.

Throughout the course of this year,  I’ve written quite a bit about the St. Catherines, Ontario, Canada-born singer/songwriter and guitarist, Dallas Green and his acclaimed, commercially successful folk rock/alt country-solo recording project City and Colour. And as you may recall, Green may arguably be one of the most commercially successful Canadian artists of his generation — he’s won 3 Juno Awards, including two Songwriter of the Year Awards — and in Canada he has 3 Double Platinum-certified albums, 1 Platinum-certified album and 1 Gold-certified album.

Slated for an October 11, 2019 release through his newly minted Dine Alone Records imprint, Still Records, Green’s sixth album, the Jacquire King-produced A Pill for Loneliness features the honky tonk-ballad meets towering, anthemic hook-driven shoegazer rock “Astronaut” and the aching and plaintive “Strangers.” The album’s third and latests ingle “Living in Lighting” borrows its title from John Steinbeck’s East of Eden and is a gorgeous slow-burn of a song with a cinematic air — and much like its predecessors, the song focuses on a troubled relationship with a sort of novelistic attention to psychological detail of its characters.

Green will be embarking on an extensive North American tour that will feature back-to-back nights in Nashville, San Francisco, Los Angeles, Boston and New York. One night in each of those cities will take place in a seated theater, featuring Green playing an intimate solo show with stripped down versions of songs across his catalog with Ben Rogers, the first artist to sign onto Green’s new label.  The second night will feature Green and his touring band playing in general admission rock and indie rock venues with Ruby Waters opening. You can check out the tour dates below.

For this tour, Green has partnered with PLUS1. $1 from every ticket sold in Canada and the States will be donated to charitable foundations — Crisis Text Line here in the States and MusiCounts and Indpsire in Canada. Since launching in 2013, Crisis Text Line has provided free, 24/7 confidential support for those in crisis across the country, exchanging over 100 million messages from folks across the country. If you or someone you know needs help, have them text 741714 in the US to connect with a trained Crisis Counselor.

TOUR DATES
Festival Dates
Aug 17 – Elora, ON @ Riverfest
U.S. Tour Dates
Sep 20 – Tacoma, WA @ WAMU Theatre (w/ ALICE IN CHAINS)
Oct 09 – Nashville, TN @ The Basement East**
Oct 10 – Nashville, TN @ James K. Polk Theater (Solo)*
Oct 14 – San Francisco, CA @ Palace of Fine Arts (Solo)*
Oct 15 – San Francisco, CA @ The Fillmore**
Oct 16 – Los Angeles, CA @ Ace Hotel (Solo)*
Oct 17 – Los Angeles, CA @ The Fonda Theatre**
Oct 21 – Boston, MA @ Royale**
Oct 22 – Boston, MA @ Berklee Performance Center (Solo)*
Oct 24 – New York City, NY @ Webster Hall**
Oct 25 – New York City, NY @ Town Hall (Solo)*
Canadian Tour Dates
Nov 08 – Victoria, BC @ Save On Foods Memorial Centre^
Nov 09 – Vancouver, BC @ Pacific Coliseum^
Nov 10 – Kelowna, BC @ Prospera Place^
Nov 12 – Calgary, AB @ Scotiabank Saddledome^
Nov 13 – Edmonton, AB @ Rogers Place^
Nov 15 – Regina, SK @ Brandt Centre^
Nov 16 – Winnipeg, MB @ Bell MTS Place^
Nov 19 – Sudbury, ON @ Sudbury Arena^
Nov 22 – Toronto, ON @ Scotiabank Arena^
Nov 25 – Ottawa, ON @ Canadian Tire Centre^
Nov 26 – Kingston, ON @ Leon’s Centre^
Nov 29 – Halifax, NS @ Scotiabank Centre^
* = w/Ben Rogers
** = w/Ruby Waters
^ = w/Jacob Banks and Ben Rogers