JUNOfest '17 Ottawa
Friday, March 31, 2017
Doors: 9:00 pm / Show: 10:00 pm
The Rainbow Bistro
This event is 19 and over
10pm Kaia Kater
11pm Corin Raymond
12am Sean Pinchin
1am Colin Linden
Individual advance ticket - Ticket guarantees entry to this specific show. Advance sales represent 50% of each venue’s capacity. If a show is listed as sold out on TicketFly, we will still be allowing access to JUNOfest wristband holders & individual sales at the door (subject to capacity).
JUNOfest wristband - Offers you priority access to ALL JUNOfest venues over BOTH nights Friday March 31 & Saturday April 2 (subject to capacity). Click HERE to purchase a wristband.
Download the official 2017 JUNO Awards app HERE!
Colin Linden is a genuine renaissance man of roots music. He’s a member of the highly successful trio, Blackie and the Rodeo Kings, a singer and songwriter, an in-demand and prolific record producer, musical director on the hit TV show Nashville and sideman to the stars as guitarist for the likes of Bob Dylan, Bruce Cockburn, Emmylou Harris, Robert Plant and Alison Krauss.
Born in 1981 in Toronto, Sean Pinchin haunts the GTA with his sultry sounds and elegant verse. Sean found his calling in Folk and Blues’, finding the community and the music spoke to his lifestyle and his heart. A self-proclaimed “typical” Ginger and Taurus, his down-to-earth and easy going personality compliments the energetic charisma he projects on stage.
Toronto songwriter Corin Raymond is a troubadour whose robust veracity appeals to older folks and children alike. Raymond’s songs are covered by Dustin Bentall, The Good Lovelies, The Strumbellas, The Harpoonist and the Axe Murderer, and a far flung community of roots musicians and enthusiasts. Raymond's latest album, Hobo Jungle Fever Dreams (released March 3rd, 2016) is "a hypnotic, literate collection of dark tall tales.... Romantic, immediate, and narcotic." (Acoustic Guitar). Aside from the hilarious triumph of funding his previous project, double-album Paper Nickels, with Canadian Tire money, Raymond enjoys a second career performing his non-musical, one-man shows Bookworm (2011) and The Great Canadian Tire Money Caper (2014), which he has toured extensively to over a dozen Fringe and literary festivals, and to theatres in three countries. "Raymond has impeccable timing, and his performance is at once intimate, openhearted, and evangelical." (The Georgia Straight on Bookworm) "Corin Raymond is a storyteller who by the end of the night you'll have known your whole life." (The Globe and Mail).
The new album from young African-Canadian roots phenom Kaia Kater couldn’t come at a better time. As a new generation takes the reins, American roots music is needed more than ever to remind us of the troubled pathways of our own history. Born of African-Caribbean descent in Québec, Kaia Kater grew up between two worlds: one her family’s deep ties to Canadian folk music in her Toronto home; the other the years she spent learning and studying Appalachian music in West Virginia. Her acclaimed debut album Sorrow Bound (May 2015) touched on this divide, but her new album, Nine Pin (May 2016), delves even further, and casts an unflinching eye at the realities faced by people of colour in North America every day. Her songs on the new album are fueled by her rich low tenor vocals, jazz-influenced instrumentation, and beautifully understated banjo, and they’ve got as much in common with Kendrick Lamar right now as they do with Pete Seeger.
Recorded in just one day in Toronto, Nine Pin was produced by both Kater and acclaimed Canadian artist Chris Bartos (The Barr Brothers, Jonathan Byrd), who also produced her last album, Sorrow Bound Few artists could pull off such a polished, cohesive album in one day, but Kater felt that this actually lent focus to the project. As a concept album, Nine Pin weaves between hard-hitting songs that touch on modern issues like the Black Lives Matter movement (“Rising Down,” “Paradise Fell”) and more personal narratives speaking to life and love in the digital age (“Saint Elizabeth”). And while these larger stories are deftly crafted, this is really an album of moments. Kater’s a cappella voice speaking to the loneliness of a city in “Harlem’s Little Blackbird” while solo dance steps echo in the background, the muted hesitancy of Caleb Hamilton’s trumpet breaking the trance of “Little Pink,” the smoke of electric guitar that cuts through “Saint Elizabeth,” the wave-like ebb and flow of piano behind the plaintive love poem “Viper’s Nest…” All of these moments point to an artist wise beyond her years.