Tag: Winnipeg MB

Video by William Ruben Helms

New Video: Living Hour Shares Fuzzy and Simmering “Wheel”

Acclaimed Winnipeg-based indie quintet Living Hour — Sam Sarty (vocals, multi-instrumentalist), Gil Carroll (guitar), Adam Soloway (guitar, vocals), Brett Ticzon (bass, keys) and Issac Tate (drums) — will be releasing their Melina Duterte, a.k.a. Jay Som-produced fourth album Internal Drone Infinity through Keeled Scales and Paper Bag Records on October 17, 2025. Initially known for their lush fusion of dream pop and shoegaze, the Canadian quintet have continually evolved throughout their history, gradually merging folk-inflected slowcore, fuzzy indie pop and hazy noise rock into a sound that’s expansive and emotionally piercing.

Internal Drone Infinity was recorded during the stark, isolating cold of a Manitoba/Winnipeg November. Duterte flew in the day after performing on Saturday Night Live with Boygenius, and the energy of that whirlwind transition seeped into record’s intimate yet vast emotional core.

Drawing from Yo La Tengo, Magnolia Electric Co., The Weakerthans, Feeble Little Horse, Yuck and DIIV, Internal Drone Infinity sees Living Hour reportedly crafting a striking sonic atmosphere, full of icy, melodic vocals, grainy textures, twangy warmth, screeching distortion and immersive percussion. Thematically, the album explores the cyclical process of observation, documentation and projection. While being a raw, commanding expansion of their long-held dreamy sound, the album’s material also gives voice to the quiet strength and simmering rage of the overlooked.

Before I forget, drums on two album tracks, “Wheel” and “Texting” were recorded by The Weakerthans’ Jason Tait at his Winnipeg home studio.

The forthcoming album’s first single “Wheel” is angsty and fuzzy, 120 Minutes MTV-era alternative rock-like track, which features arguably some of the biggest and catchiest hooks and choruses they’ve written or recorded paired with the band’s unerring knack for breezy melodies. But just underneath the surface, the song is a tale of simmering and uneasy rage about being taken advantage of — and unnecessarily being put in danger.

“The story of ‘Wheel’ begins with buying a car off Facebook Marketplace in BC,” the band’s Sam Sarty explains. “Turns out the car was junk, but I had no choice but to drive it home to Winnipeg. It took 3 days. I was driving through the mountains, and the headlights were so dim, and for a stretch there was nowhere to turn off. It felt like a weird, horrific video game–navigating the road and dodging danger and trying not to die. I also felt so deeply betrayed by all the men involved in the whole thing.  

“These men feel like a series of characters now. I felt so powerless in this weird system that prioritizes men and their opinions. In this song, I was able to imagine an alternate reality where I’m a vengeful spectator in these men’s lives. What if I had died on the road, and what if I came back and plagued them all with my powerful essence that they so easily dismissed, contorted and took advantage of in order to sell me a fucked up car?”

“I fantasized about how it would feel to ‘fall off the wheel’ and lean into this witchy, monstered realm of existence where men are de-centered. One where I would have no hesitation to put those men in the same danger they put me in.”

Filmed by Leigh Lugosi, the accompanying video for “Wheel” was shot on VHS and features the band performing the song in the studio, doing band hang out/photo shoot kind of stuff, as well as goofing off. And fittingly, it feels like it could have aired on 120 Minutes back in the day.

singer/songwriters by William Ruben Helms
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News/Announcements: FME Announces 2025 Venue Showcase Lineups

FME announces the venue showcase lineups for the 2025 edition.

Video by William Ruben Helms

New Video: JayWood Shares Swaggering, Genre-Defying “ASSUMPTIONS”

Jeremy Haywood-Smith is a Winnipeg-born, Montréal-based, singer/songwriter, musician and creative mastermind behind the acclaimed, boundary pushing project JayWood. Though he was nominated for a Polaris Music Prize, the Canadian artist currently has a day job as a postal worker, which is arguably the least interesting thing about him.

Haywood-Smith’s third JayWood album Leo Negro is slated for a September 5, 2025 release through Captured Tracks. Much like previously released tracks “UNTITLED (Swirl)” and his collaboration with Tune-Yards, “BIG TINGS,” Leo Negro will further cement his reputation for refusing to be easily pigeonholed.

The Canadian artist explains that the album’s title ” . . .came from the main concept of the album which is identity. I asked myself the question of ‘What are some things that make me who I am, no matter what changes occur in life?’ and funnily enough, I was getting really into astrology at the time due to fact that 70% of my friends are queer femmes. I was trying to understand what it means to be a Leo. On the other hand, I’m moving through life as a black man in spaces that don’t always understand me or will try to categorize me.”

He adds, “I know the main identifier for Leos is that they’re super confident and massive social magnets and leaders, but in recent years, I’ve had a harder time leaning into that specific energy, so I started to just dismantle the idea of confidence and leadership by doing somewhat of the opposite. I started to get more vulnerable and share more things about myself: insecurities, fears, anxieties, my scarier truths and my experiences as a black person. Through that, I weirdly started to feel a little more confident. Which brings me to my last point about the title. I now live in Montreal and one thing I realized while trying to learn the language is that the descriptions of things are at the end. For example ‘black cat’ would be ‘chat noir,’ and if I look at my album title, it kinda translates to ‘black confidence’ in my mind.”

Leo Negro‘s latest single “ASSUMPTIONS” is a mind-melting, defiantly genre-agnostic track that sees the Montréal-based artist meshing a swaggering and braggadocio-fueled hip-hop production and neo-soul while subtly hinting at Pharrell‘s “Happy.” While seemingly recalling Tyler, the Creator, Stereolab and Men I Trust among others, “ASSUMPTIONS” showcases a mischievously forward-thinking producer and songwriter, who can pair social commentary and deep introspection within a catchy, deceptively fun bop.

“‘ASSUMPTIONS’ feels like it’s giving myself permission to step into some new sonic territory,” Haywood-Smith explains. “It’s fun and playful while still being pretty focused and lyrically consistent, which is new for me. It’s also one of the funniest songs I’ve ever written. It’s literally about my crippling imposter syndrome but at the same time, I’m staking my claim as a solid artist and a producer.”

Directed by Trent Wayne, the accompanying video is a playful, unpredictable mix of cartoons and live action footage at an equally cartoon colored party, in which he plays his new song. Much like the accompanying song, the video touches on feelings of imposter syndrome, feeling under appreciated yet knowing deep down that you’re fucking dope.

The video’s director, Trent Wayne, while speaking on the production said “JayWood set the tone for us—playful, unpredictable, and musically rich— making a great foundation for the video. Inspired by the song’s genre-blending, we built a narrative to match: starting in a comically chaotic party scene, drifting into a Yo Gabba Gabba!-inspired graveyard, and featuring a cartoon version of Jay performing created by Pete Though, which was sent through a VCR for added analog grit. Our production designer, Sophia Kotowski, built a functional CD-player gravestone that became a psychedelic centerpiece. Collaborating with Captured Tracks to spotlight innovative artists like JayWood is a real privilege for our team.”

Video by William Ruben Helms

New Video: Aloysius Bell Shares Dreamily Mischievous and Introspective “That Is Me”

Aloysius Bell is the creative alter ego of Winnipeg-born, Montréal-based singer/songwriter and indie pop artist Annick Brémault, a former member of the now defunct Juno Award-winning outfit Chic Gamine. With Chic Gamine, Brémault toured extensively internationally and appeared on A Prairie Home Companion, Vinyl Café, Radio Canada’s Studio 12 and a number of other notable broadcasts. She has also collaborated and performed with an array of artists including Damien Robitaille, Willows, Sala, and David Myles. 

While the project’s name is a nod to male pseudonyms of the Brontë Sisters, the persona is informed by deep and intense soul-searching with the aim to shed light on murky, in-between spaces.

Back in 2019, Brémault stepped out into the spotlight as a solo artist with “Mountains” and “Your Heart Is Feathers” songs offered a glimpse into the Canadian artist’s introspective world and showcasing an ethereal, opened-eyed perceptive, imaginative and atmospheric pop language and a minimalist prose style.

Brémault’s long-awaited Aloysius Bell debut EP, the David Plowman-produced Warm Thing is slated for February 2024 release. The EP reportedly sees her blending her distinctive songwriting with pop, R&B and electronic influences with her ethereal delivery being at center of it all.

Warm Thing‘s latest single “That Is Me” is a slow-burning and atmospheric pop song built around fluttering synth arpeggios, Bréamult’s ethereal delivery singing deeply introspective lyrics informed by the deeply lived-in, personal experience, thoughts and feelings of a modern woman maneuvering competing societal norms and roles.

“I wrote this song in late 2021, in my bedroom-turned-studio during a cold snap. I remember looking at the painting on my wall, by the artist Louise Gill, of a woman lying alone on a bed in a dark room and thinking, “That is me,’ right now. I was feeling cozy and nothing could induce me to go out at that point. I remembered the times I’d gone out despite not feeling like it and ended up disappointed. ‘That Is Me’ reimagines myself the way I wish I’d been in my 20s: not wasting my time trying to please other people and instead doing what feels good to me.

This song is about one other thing: rest. I’m trying to get better at it, taking breaks and naps.”

Directed and shot on Super 8 by Montréal-based filmmaker Dominique Montesano and featuring choreography by the artist’s sister Kalliane Brémauult, the video follows Annick Brémault as she returns home, goes up the stairs, gets undressed and gets into her bed.

“I started putting out music with this project in 2019. Those songs were the result of a tumultuous time, so they have an intense kind of energy to me. The pandemic gave me a breather and what I wrote in that period feels a bit more relaxed and less fraught,” the Montréal-based artist continues. She goes on to add that the song — and its accompanying video — showcases a lot of bedroom imagery, since it was written and partially produced in her bedroom.

Video by William Ruben Helms

New Video: La Faute Shares Haunting “Blue Girl Nice Day”

Peggy Messing is a Winnipeg-born, Toronto-based multi-instrumentalist, singer/songwriter and visual artist, best known for her solo recording project La Faute. The Winnipeg-born, Toronto-based artist’s work sees her exploring several different themes including surface vs. depth, longing, betrayal, mourning and desire.

Creating her sound with tenor eclectic guitar and obsolete hardware samplers, Messing released her debut EP just before the pandemic put a halt on everything. She chose to pause live performing due to her health, and returned to focusing on creating music, finding workarounds to the problem of isolation. She connected with fellow artists and producers in France, the UK, Canada and the States — and most recently, Los Angeles-based producer, Topher Mohr, who produced her forthcoming La Faute self-titled debut album.

“Blue Girl Nice Day,” the self-titled album’s atmospheric first single features strummed acoustic guitar, twinkling keys, Messing’s gorgeous and expressive vocal paired with swirling synths and military-influenced drumming. Sonically, “Blue Girl Nice Day” is blends classic, guitar-driven folk with shoegazer-like textures.

Messing explains that “Blue Girl Nice Day” was inspired by the Milgram Experiments of the 60s. Subjects were told to give ever-increasing series of electric shocks to a “learner,” who had to repeat word pairs” Blue/Girl, Nice/Day, Slow/Dance, Sweet/Taste, and so on. In the experiment, the “learner” was an actor, who purposely made mistakes. The subject had to decide if they should obey orders and potentially give a lethal electric shock to a person, who was crying out in the next room — or to refuse. Subjects were shaken to find that most people would obey the authority figure and give what they thought were lethal shocks to the learner, even against their own conscience.”The song reflects on how easily we can betray and hurt each other, and how we don’t necessary know ourselves and what we are capable of,” the Canadian artist says.

The accompanying video follows Messing outside in a field near power lines and on a hospital bed with a cold wind blowing around her. It’s hauntingly eerie.

Video by William Ruben Helms

New Video: Toronto’s jackie Releases a Hilarious Send Up of Gangster and Action Movies for Anthemic “Lifetime in a Touch”

Currently comprised of Winnipeg-born founding members Jackie Mohr and Marc Girardin with Max Trefler, the Toronto-based electro pop/electro rock act jackie can trace their origins to the formation and breakup of Mohr’s and Girardin’s previous band — The Mohrs, an act that shared stages with the likes of Soundgarden, Jane’s Addiction and The Glorious Sons.

In 2012, Mohr and Girardin relocated to Toronto, where they met Trefler and released a rock-based effort through Light Organ Records before a radical change in sonic direction necessitated a rename. “We changed our sound on this new EP, replacing bass with analog synth, and went back to having just us three as the core of the project,” the band’s Jackie Mohr explains in an email. “After a few year hiatus we’ve come back as ‘jackie’. More aware of where we want to take our place in music.”

Interestingly, the band’s transformation was partially fueled by Mohr’s experiences as a woman in a male-dominated landscape. “I’ve never had a problem holding my own in this industry, or with men, but it really does make you question why there’s so little female presence,” Mohr points out.

“When I was promoting my first single, my radio team told my management it was going to be very difficult getting ‘a female on rock radio.’ I don’t think I’ve ever hated a comment more. I didn’t get it then and I don’t get it now,” Mohr continues. “I think it’s time for a new narrative. This is especially important in the LGBTQ community. Heteronormative relationships are only a small part of what’s out there, and how people love one another. Other communities need to be represented as well. I remember on my debut album I worried about saying ‘her’ or ‘she‘ as a lyric because people would class me as a ‘gay artist’. This sort of thing is important for sure, and I am a gay woman, but it’s not all I am, and I never wanted that to be the focal point of my/our music, or my musical career. The band, our music, and myself are much more than that. Music is for everyone.”

“We write songs for the everyday radio listener, and the guitar nerd,” Mohr, who owns a 1962 Silverstone 1423 nicknamed Monicka Del Toro adds. “Maybe writing good music will be more important than Instagram followers again someday.”

Interestingly, the Canadian trio’s latest single, the Hawksley Workman-produced “Lifetime in a Touch” finds the band crafting pop-leaning track that’s simultaneously a club banger and an arena rock anthem, complete with a driving groove, synth arpeggios reminiscent of Stevie Nicks‘ “Stand Back,” a scorching guitar solo and Mohr’s earnest, pop belter vocals. It’s the sort of rousingly anthemic song that you can envision sweaty young people shouting along to in a dark club — but the real reason it works is that it’s rooted in real, lived-in, deeply universal experiences. As the trio explain, the song is “essentially a song about heartbreak, but it’s told through a positive outlook The lyrics in the verses represent the past lover that engulfed and controlled you, while the chorus reminds you that there’s more to life than lovers.”

Directed by Dominika Monicka and Ryan Faist, the recently released video for “Lifetime in a Touch” is a hilarious send up of Office Space, gangster movies and action movies as it features the bandmebers in an abandoned shipyard. Throughout the bulk of the video, the band are in an old Honda four door spinning in infinite donuts. But we also see the band rocking out to the song, and eventually busting shit up — because why not? Perhaps in some way, the video reminds the viewer that love can be a wild and tumultuous ride. 

Single Review by William Ruben Helms

 

Currently comprised of Winnipeg-born founding members Jackie Mohr and Marc Girardin with Max Trefler, the Toronto-based electro pop/electro rock act jackie can trace their origins to the formation and breakup of Mohr’s and Girardin’s previous band — The Mohrs, an act that shared stages with the likes of Soundgarden, Jane’s Addiction and The Glorious Sons.

In 2012, Mohr and Girardin relocated to Toronto, where they met Trefler and released a rock-based effort through Light Organ Records before a radical change in sonic direction necessitated a rename. “We changed our sound on this new EP, replacing bass with analog synth, and went back to having just us three as the core of the project,” the band’s Jackie Mohr explains in an email. “After a few year hiatus we’ve come back as ‘jackie’. More aware of where we want to take our place in music.”

Interestingly, the band’s transformation was partially fueled by Mohr’s experiences as a woman in a male-dominated landscape. “I’ve never had a problem holding my own in this industry, or with men, but it really does make you question why there’s so little female presence,” Mohr points out.

“When I was promoting my first single, my radio team told my management it was going to be very difficult getting ‘a female on rock radio.’ I don’t think I’ve ever hated a comment more. I didn’t get it then and I don’t get it now,” Mohr continues. “I think it’s time for a new narrative. This is especially important in the LGBTQ community. Heteronormative relationships are only a small part of what’s out there, and how people love one another. Other communities need to be represented as well. I remember on my debut album I worried about saying ‘her’ or ‘she‘ as a lyric because people would class me as a ‘gay artist’. This sort of thing is important for sure, and I am a gay woman, but it’s not all I am, and I never wanted that to be the focal point of my/our music, or my musical career. The band, our music, and myself are much more than that. Music is for everyone.”

“We write songs for the everyday radio listener, and the guitar nerd,” Mohr, who owns a 1962 Silverstone 1423 nicknamed Monicka Del Toro adds. “Maybe writing good music will be more important than Instagram followers again someday.”

Interestingly, the Canadian trio’s latest single, the Hawksley Workman-produced “Lifetime in a Touch” finds the band crafting pop-leaning track that’s simultaneously a club banger and an arena rock anthem, complete with a driving groove, synth arpeggios reminiscent of Stevie Nicks‘ “Stand Back,” a scorching guitar solo and Mohr’s earnest, pop belter vocals. It’s the sort of rousingly anthemic song that you can envision sweaty young people shouting along to in a dark club — but the real reason it works is that it’s rooted in real, lived-in, deeply universal experiences. As the trio explain, the song is “essentially a song about heartbreak, but it’s told through a positive outlook The lyrics in the verses represent the past lover that engulfed and controlled you, while the chorus reminds you that there’s more to life than lovers.”

 

 

 

 

 

Single Review by William Ruben Helms

Perhaps best known as one-half of the acclaimed, Juno Award winning roots rock act The Bros. Landreth, the Winnipeg, Manitoba, Canada-based singer/songwriter and guitarist Joey Landreth has spent the past few years developing a reputation and sound as a solo artist.

Landreth’s critically applauded full-length debut, 2017’s Whiskey was largely seen as an extension of his work in The Bros. Landreth. However, his highly-anticipated sophomore album Hindsight, which was co-written and produced by rising multi-instrumentalist Roman Clarke and recorded at Lincoln Country Social Club Studio in Toronto and Stereobus Recording in Winnipeg, reportedly finds the Winnipeg-born and-based singer/songwriter and guitarist crafting his most impassioned and uplifting material to date while pushing his sound and approach in a new direction. Thematically, the album as Landreth says in press notes features “a collection of songs that explore ideas about learning from mistakes, letting go, forgiving and growing up. And heartbreak. It wouldn’t be a Landreth endeavour without some heartbreak.”

“Cryin’,” Hindsight‘s latest single is a slow-burning and easy-going bit of singer/songwriter soul that recalls Bill Withers and Sandra Rhodes’ under-appreciated Where Has Your Love Been as the track is centered around a Muscle Shoals meets neo-soul inspired arrangement featuring a soaring hook, shimmering guitars, gospel-like organs, Landreth’s soulful crooning and an expressive guitar solo — and much like the material that seemingly influenced it, the track is essentially a deliberately crafted, old-fashioned blues about being heartbroken and crying in your beer.

Landreth will be embarking on an extensive UK and North American that will feature his producer and collaborator Roman Clarke. Check out the tour dates below.

Tour Dates

April 23 – Lewes Con Club, Lewes, United Kingdom

April 24 – Fat Lil’s, Witney, United Kingdom

April 25 – The Boileroom, Guildford, United Kingdom

April 26 – The Railway Inn, Winchester, United Kingdom

April 27 – The HUBS, Sheffield, United Kingdom

April 28 – Audio Glasgow, Glasgow, United Kingdom

April 29 – White House Unique Social Club, Ashington, United Kingdom

April 30 – The Wardrobe, Leeds, United Kingdom

May 1 – The Night and Day Café, Manchester, United Kingdom

May 2 – The Bulls Head Alton, Alton, United Kingdom

May 3 – Kilkenny Roots Festival, Kilkenny, Ireland

May 4 – Killkenny Roots Festival, Kilkenny, Ireland

May 5 – The ROOTS @ The Rafa, St David’s, United Kingdom

May 7 – Thekla, Bristol, United Kingdom

May 8 – The Garage, London, United Kingdom

May 9 – The Flowerpot, Derby, United Kingdom

May 11 – Rhythm & Blues Night 2019, Groningen, Netherlands

May 12 – Paard Café, The Hague, Netherlands

May 14 – Blue Shell, Cologne, Germany

May 15 – Kranhalle, Munich, Germany

May 17 – Nachtwache, Hamburg, Germany

May 18 – Sonderborghus, Sonderborg, Denmark

May 19 – Blues Garage, Isernhagen, Germany

May 20 – Badehaus, Berlin, Germany

May 21 – Bygningen, Vejle, Denmark

May 22 – Tobakken, Esbjerg, Denmark

June 6 – Dekker Centre, North Battleford, Canada

June 29 – Puisto Blues Festival, Jarenpaa, Finland

July 20 – Vancouver Folk Festival, Vancouver, Canada

July 27 – Stan Rogers Folk Festival, Canso, Canada

 

Video by William Ruben Helms

New Video: The Mischievous Yet Dark Goth-Inspired Visuals for Ghost Twin’s “Plastic Heart”

Since the release of their debut EP, Here We Are In The Night, the Winnipeg, MB-based electro pop duo Ghost Twin, comprised of husband and wife duo Karen and Jaimz Asmundson, have received attention for meshing dark, industrial-inspired dance grooves in an immersive audio/visual show that includes edited video being used as percussion; in fact, the duo have played shows across their native Canada, including sets at NXNE, Pop Montreal, BreakOut West and Terminus. Eventually, the EP caught the attention of Austra’s Maya Postepski, a drummer and an electronic music producer known as Princess Century, who approached the band and was recruited to produce and collaborate on the material that would eventually comprise Plastic Heart, the Canadian duo’s full-length debut.

“Plastic Heart,” the album title track and latest single off Ghost Twin’s debut consists of tweeter and woofer-rattling boom bap beats, propulsive, shimmering arpeggio synths, a murky, retro-futuristic, industrial electro pop vibe and a soaring hook paired with ethereal vocals — and while clearly nodding at John Carpenter soundtracks, Nine Inch Nails, Ministry, Depeche Mode, Moonbabies, Niki and the Dove and others, the song manages to be a slickly produced, club banger with a dark, seductive feel. And interestingly enough, the recently released video, which was directed and produced by the band’s Jaimz Asmundson drops the viewer into a gym club for goths in which a dance instructor teaches some of the attendees a menacing new dance move, a move that mimics kidnapping, murdering and then burying the body of an enemy while conjuring dark spirits — and while menacing there’s a mischievous sense of dark humor and wish-fulfillment within the video.

Single Review by William Ruben Helms

Since the release of their debut EP, Here We Are In The Night, the Winnipeg, MB-based electro pop duo Ghost Twin, comprised of husband and wife duo Karen and Jaimz Asmundson, have received attention for meshing dark, industrial-inspired dance grooves in an immersive audio/visual show that includes edited video being used as percussion; in fact, the duo have played shows across their native Canada, including sets at NXNE, Pop Montreal, BreakOut West and Terminus. Eventually, the EP caught the attention of Austra’s Maya Postepski, a drummer and an electronic music producer known as Princess Century, who approached the band and was recruited to produce and collaborate on the material that would eventually comprise Plastic Heart, the Canadian duo’s full-length debut.

“Plastic Heart,” the album title track and latest single off Ghost Twin’s debut consists of tweeter and woofer-rattling boom bap beats, propulsive, shimmering arpeggio synths, a murky, retro-futuristic, industrial electro pop vibe and a soaring hook paired with ethereal vocals — and while clearly nodding at John Carpenter soundtracks, Nine Inch Nails, Ministry, Depeche Mode, Moonbabies, Niki and the Dove and others, the song manages to be a slickly produced, club banger with a dark, seductive feel.

Video by William Ruben Helms

Live Footage: Winnipeg-based Indie Rock Act Living Hour Performs Gorgeous New Single Live

Living Hour is a Winnipeg, MB-based indie rock quartet that can trace their origins to when they formed during basement jam sessions in which they would write dreamy and cinematic songs inspired by the enormous prairie skies that surround their hometown. And unsurprisingly, the sound that the Canadian quartet developed manages to draw from shoegazer rock, dream pop and chillwave among other genres. Now, if you had been frequenting this site back in 2015, you may recall that I wrote about “Seagull,” a single that reminded me quite a bit of Mazzy Star‘s “Fade Into You.”

The Canadian quartet is currently in the middle of a Stateside tour, including a lengthy stop in Austin for SXSW — in fact, I think at this moment they’re playing at the Force Field PR Showcase; and interestingly enough, just before the band embarked on their tour, they recorded a live version of an ethereal and gorgeous new single “Inside.” And much like “Seagull,” the new will further cement the quartet’s reputation for a sound that draws from shoegaze and dream pop paired with ethereal and haunting vocals, that possesses a cinematic quality; but unlike its predecessor, the band pairs a gorgeous and mournful horn arrangement at the song’s cathartic coda.

The live footage of the song was shot by Jelly Fish Jam during a recent performance at the West End Cultural Center in Winnipeg Manitoba, and as you can see, the band expands to a septet to evoke an even larger, more lush and enveloping sound.