The Shady Grove stage sounds like an ideal place to try and escape the blazing sun that heats this year’s Winnipeg Folk Festival. Festival-goers are planted under the trees along the edges and right up front under the stage’s hood, wherever can shield them from the rays, most with one of two items in hand: a fan or a lemonade.
Two glowing letter “C’s” hung suspended high in the air behind Charley Crockett throughout the course of his nearly two-hour show at the Burton Cummings Theatre on May 27th. He let us know who the star was.
The prairies have long been identified as fertile grounds for more than merely vegetation — music springs from our soil like so much sage and clover. Much has been said about the way our winters seem purpose-built for the intense woodshedding and creative hermitage which characterizes the habits of artists of legend. But there’s a flip to this that’s much less frequently considered. I feel that when you’re prairie-bound, inspiration can be hard to come by.
Black t-shirts peppered the landscape of South Osborne on the beautiful evening of May 10th as The Park Theatre hosted the latest edition of Manitoba Metalfest. The annual weekend gathering has been an eagerly-awaited occasion for Winnipeg’s metal community for many years — understandably, given its history of bringing in big-name bands to a city often overlooked on tour itineraries. It doesn’t take much to lure local headbangers to Metalfest — even if the lineup isn’t your scene, the festival’s raucous and jovial atmosphere is unparalleled. But this year’s iteration featured a few reasons for extra excitement.
An evening of trans + queer sound art and poetry (October 1 @ aceartinc.)
by maggie astrid clark photos by derek brueckner
As evidenced by September’s so-called “1 Million March 4 Children” and by recent legislation in Saskatchewan and New Brunswick, we are living through a time of escalating fascist rhetoric against trans people and related political efforts to strip the most vulnerable of us of access to safe medical and social transitions. Amidst a backdrop of great uncertainty for the future of our communities, it was truly refreshing to attend an evening of Two Spirit, trans, and queer sound art and poetry at aceartinc. (206 Princess St.) on October 1.
Friends and supporters of local “campus and community” radio station CKUW (95.9 FM) came out to the Good Will Social Club on Thursday, March 30 to wrap up the annual pledge drive in support of keeping CKUW listener-driven and free of paid advertising. It was an intimate gathering and a great opportunity not only to support the continued work of CKUW and its in-house music magazine, Stylus Magazine, but for the staff and volunteers to celebrate that work.
TEKE::TEKE took to the Big Bluestem stage after a long and hot day in Birds Hill Provincial Park at the Winnipeg Folk Festival. Heat exhaustion and dehydration were taking hold of the crowd, and engagement was low. But, as the band launched into the first song of the buzzy and feedback-heavy set, a wave of jubilation washed over attendees and everyone was locked into the mesmerizing talent of TEKE::TEKE.
*We are excited to cover the Winnipeg Folk Festival again! Here is some of our highlights from last year!*
by Isabella Soares
Indie trio Wild Rivers might have started their career in 2016, but their music reached other parts of the world through streaming during the pandemic. Now that touring and playing festivals are back on the table, Devan Glover (vocals), Khalid Yassein (vocals and guitar), and Andrew Oliver (guitar and bass) have been witnessing crowds singing along throughout Europe, the US, and Canada. After the band members left the Snowberry Field Stage at the 2022 Winnipeg Folk Festival, they talked to Stylus Magazine about their favourite songs to play live, the process behind their latest album Sidelines, and weighed-in on writing love and heartbreak songs.
*as we gear up for this years Winnipeg Folk Festival we thought it would be fun to revisit some of our highlights from last year!*
by Myles Tiessen
On Saturday afternoon, nestled in the far back reaches of the Winnipeg Folk Festival grounds, Richard Inman performed a set as thoughtful and pensive as his reflective songwriting.