Head or Tail
Nick MacMahon, Staff
March 14, noon @ Portage Place, Edmonton Cour
What’s your musical philosophy?
At this point, you don’t turn on my music to dance. Quite frankly, it’s music to be sad, angry or lazy to. If I’m going to ask someone to come to me and relate to my words or if I’m going to try to go out there and offer some kind of solidarity, it’s important to be honest (or an infallible actor). Honesty is the best policy.
What’s your musical style?
Folk pop.
Who or what are your influences?
A guitar player once told me that I write like a piano player. I suppose the 20 years I spent studying that instrument would most likely have an effect on the kind of music that comes out of me. Other than that, I pretty much stay in my own little bubble; I would be the worst contestant in any kind of contemporary music quiz.
What inspires you?
Extremes: anger, sadness, frustration, etc. I also appreciate the gift that filmmakers offer me when I’m asked to compose a score. It’s a different way to write, and I’m always grateful for the free inspiration I find in their story.
Who’s in the band right now?
Cat Jahnke on vocals, guitar and piano; Patrick Farr on incomparable bass; Mike Shawcross on wicked drums; and Darren Johnston, the most important lifter of heavy bits and pusher of critical buttons (roadie and tech).
What do you look for in a live performance?
Whether it’s a huge club gig in Toronto or an intimate house concert in southern Saskatchewan, I always strive to make a genuine connection with the audience. Beyond just entertaining, I would hope that folks relate to my stories and music, and feel like they’re getting to know me. And if, at the end of a show, I’m offered a story in return, I’m even more thankful for that vulnerability.
As your style evolves, do you consciously try to maintain elements of your original sound?
When I write for myself, I’m a slave to my muse. I write what and when I can; it’s difficult to deliberately manipulate the direction of a song. Perhaps the underlying elements that define my sound are more subconscious, in which case, I’m glad I don’t have to be directly responsible for my own progression.
What is the key to musical longevity on the local level?
Ask me in 20 years.
March 14, 10:30 @ Times Change(d) High and Lonesome Club
What’s your musical philosophy?
Authenticity plays a big role in my philosophy. Enjoyment as well — I love to watch performers who mean it and enjoy what they do. On a more profound level, I consider myself a modernist more so than a traditionalist, so the fusion of styles and the reinvention of traditional styles in a more modern context excite me musically.
What’s your musical style?
A mish-mash.
Who or what are your influences?
I am a big fan of Nick Cave, Tom Waits, Bach, the Melvins, Will Oldham and many, many more. As a writer, I am influenced by my surroundings and all that I see happening. I also love early American detective fiction, particularly Dashiell Hammett and Ross MacDonald. The installation work of southern Alberta artist David Hoffos is also something that I consider quite influential. The strength of the Winnipeg arts and music community, in particular the roots community that revolves around the Times Change(d) club. Also, the films of Mike Maryniuk.
What inspires you?
My daughter Sylvie and my wife Rhoda.
Who’s in the band right now?
The core Little Buddies are Tom “Twisty” Fodey on bass, Kelly Castle on drums, Ashley Roch on piano and myself on electrical guitar and vocals. There is also a large contingent of guests that join us frequently, including Grant Siemens, Don Zueff, Jaxon Haldane, Chrys Fournier, Rob Vaarmeyer, Chris Carmichael and more.
What do you look for in a live performance?
I look for energy and musicianship in a live performance. Subtlety and dynamics are always a bonus. It really depends on the show, though. If an artist succeeds in their delivery, I believe that an audience will understand the artist’s intentions intrinsically. I don’t like boring, contrived crap — something which there is no shortage of in today’s market.
As your style evolves, do you consciously try to maintain elements of your original sound?
I don’t think about those things. I write songs that I like and hope that some others do as well. I think my sound is something that I cannot escape but I hope not to be doomed to repetition.
What is the key to musical longevity on the local level?
I suppose avoiding redundancy must be key. Writing and performing new material as well as giving people the older material they want. Not overplaying. It’s best to avoid the “We can go see them any time” thing. Also, getting on the road and playing elsewhere actually really helps a band at home because that is where a band really improves; fans take pride in the accomplishments of the bands they love. The D.Rangers, the Perpetrators or Romi Mayes are shining examples of all these things.
