Indie

Andrea Ramolo

(in support of her new record Quarantine Dream)

Singer-songwriter Andrea Ramolo is the first to admit that she creates music out of chaos and often misery. If that is a dark statement, it’s also one she laughs about because it all works out in the end. This time, once again, it has lent itself to the creation of her stunning new seventh studio album, Quarantine Dream (due Oct.). Her past six studio albums — four solo and two with the duo Scarlett Jane — have been borne out of heartbreak, but Quarantine Dream, made almost entirely with female and non-binary creatives, is different: it’s about a breakup with our lives as we knew it when COVID-19 hit in early 2020. “The record’s about extreme hope, extreme fear, extreme loss, extreme loneliness, and extreme imagination — wishing and hoping for a better tomorrow,” says Andrea. From the escape of “Italian Summer” that she created to transport her into other imaginary and more hopeful circumstances, to the protest song “Free,” feat. Kinnie Starr, about sexism, sexual violence, racism, and the lie that is ‘freedom,’ to the title-track about her wish for the state of the world, Andrea also tackled more personal issues, such as being childless in “Morning Glory” and wanting to disappear in “Carousel.” The first single, “Dust,” a piece of James Bond-ian noir seduction, is about an intense, albeit brief, intimate encounter during the pandemic with a man whose darkness and struggles shed light on her own, about fear, trust and judgement.  The video, directed by Nikki Ormerod, features Andrea dancing alongside The National Ballet of Canada’s choreographer and performer Jera Wolfe, and a live snake. “It's unreal. It tells of this connection through a contemporary dance piece choreographed by Shawn Bracke. My favourite creative project to date besides making this album,” Andrea says. The other important cornerstone of Quarantine Dream is all the women she worked with from writing to recording to the visuals.  The 10-song statement was produced mixed and engineered by Sarah MacDougall (who plays on it too), mastered by Elisa Pangsaeng, and includes co-writes with Kinnie Starr and Hill Kourkoutis (“Free”) and Madison Violet’s Brenley MacEachern and Lisa MacIsaac (“End of Time”), guest vocals by Kinnie and Madison Violet, and piano by Kathryn Calder of The New Pornographers (“Morning Glory” and “Lose Me”). The only males on the project are Chris Wong (bass, keys, electric guitar), string player and arranger Davide Rossi (Coldplay, The Verve, Alicia Keys, Ed Sheeran), and Wintersleep drummer Loel Campbell, who all make appearances on a few songs. “Don’t get me wrong, I love men,” says Andrea, “but I made the decision you need to be the change. The music industry is a man’s world; there aren’t hundreds of women coming out of the woodwork because we haven’t been given the opportunities. I have worked with really good men, but this is an opportunity to start the shift. It has to start with us women hiring women.” It’s not surprising Andrea feels this way. Born in Toronto to Italian immigrants, she comes from a close famiglia with strong female role models, her mom (who beat cancer twice) and Nonnas who celebrated and encourage hard work, strength, and perseverance. The triple-threat began her journey into the arts as a dancer and actor, until she ventured into music in 2008 with the release of her album, Thank You For The Ride, which she supported with close to 200 shows across Canada. Her 2011 follow-up, The Shadows and the Cracks led to her first Canadian Folk Music Awards nomination. Andrea then partnered with her friend Cindy Doire to form Scarlett Jane and spent the next five years touring behind two folk albums for distributor Warner Music Canada, 2012’s Stranger and 2015’s eponymously-titled offering.  Stranger earned them two more CFMA nominations. Along the way, Andrea also contributed to projects by Tom Wilson’s Lee Harvey Osmond, where she met Cowboy Junkies’ Michael Timmins, who would go on to produce her next two solo albums, starting with the stellar NUDA (Italian for ‘naked’). The album emerged out of a deep depression following a romantic breakup with Tom and shifted her artistic path to something raw, dark, cool, understated and melancholy. Taking a break from lyrical catharsis, she then dove into an album honouring songs by Leonard Cohen, appropriately titled Homage, which earned her another CFMA nomination in 2020. Then the pandemic struck, first overseas. Italy declared a state of emergency and the world watched in horror as the death toll rapidly climbed. Heartbroken by what she saw in her family’s homeland, where she has explored her heritage and built up a music following, Andrea wrote and released her first original Italian-language song, “Una Lettera,” to raise funds for the Red Cross’ Italy Covid-19 Response Appeal. Meanwhile, as the virus spread in Canada too and the country went into lockdown, for her creative and personal sanity Andrea became part of a bi-monthly online female and non-binary group with a who’s who of talent from the music industry, including Jill Barber, Sarah Slean, Melissa McClelland, Erin Costello, The Good Lovelies, and some of the people who would later appear on Quarantine Dream, Sarah, Hill, Kathryn, Brenley and Lisa. “We cry together, we share secrets. It’s so intimate. We’ve been helping each other both musically and emotionally get through really hard times and become so close. I couldn’t have done this lockdown thing without them,” says Andrea. “I was getting so excited and fired up to work with women in leadership roles. Even talking about music with women was more inspiring than my experiences have been with males. “There seems to be less ego and more heart involved,” she explains. “Communication feels nurturing and passionate and clear; reasons behind getting into a creative collaboration in general just seem more clear.  And there’s a lot of magic, a lot of fire that has come out of working so far with all of these incredible women. They are all contributing so much to this project and it’s nice to hold each other up like that.”

COVID PREPAREDNESS

OUR COMMITMENT TO YOU Immunization and Safety Measures The Aeolian Hall follows best practices in safety and immunization for all employees, volunteers, patrons and guests who participate in our programming or enter The Aeolian or its buildings. Our immunization policy – as well as decisions on social distancing, masking, etc. – are guided by legislation of the Province of Ontario and recommendations of the Middlesex London Health Unit. Due to the changing nature of the environment and the resultant public health policy changes, our policy is subject to change at any time without notice. Our immunization policy and safety measures can be found online at: COVID POLICY and SAFETY MEASURES

Sarah MacDougall

Sarah MacDougall is a multiple award-winning singer songwriter, composer and producer. She has released four albums, and over the last ten years she has toured extensively across North America and Europe. Sarah’s latest album “All the Hours I have Left To Tell You Anything” won two Indie Awards, as well as was nominated for two Western Canadian Music Awards and a Canadian Folk Music Award. Previous albums have earned her two Western Canadian Music Awards and several more nominations. Sarah is a songwriter and producer with publisher Arts and Crafts, and she owns and operates her own studio Dream Ship Sound. With a background in audio engineering from Banff and Berklee College of Music, and a degree in music composition from SFU, Sarah is a versatile talent. She is currently working on a her next album, as well as producing and composing for and collaborating with other artists. An engaging performer, Sarah has been selected to play international festivals such as Iceland Airwaves, Edmonton Folk Festival, Reeperbahn, and has shared the stage with artists such as Tallest Man on Earth, Buffy St. Marie, Passenger, and many more.

COVID PREPAREDNESS

OUR COMMITMENT TO YOU Safety Measures Welcome back Aeolian Hall patrons! It has been tough, but we are so thrilled to be able to present live music to a live audience once again! To keep everyone safe when attending our concerts, we are doing the following:

• We are complying the requirements and recommendations from federal, provincial, and local health authorities to enhance the safety of our facility
• In addition, we are requiring that all patrons be double vaccinated before attending a concert, except for patrons who, for medical reasons, are not vaccinated and children 12 years old or younger
• We are requiring that clean well-fitted masks (such as a single use surgical mask) be worn indoors and that the current guidelines of 2 metre (6 feet) safe-distancing be followed
• We have placed hand sanitizer stations are placed throughout the building. Please sanitize your hands upon entering the building, and wash your hands after using the restrooms
• Our upgraded HVAC system ensures the air you breath is fresh and filtered
• We thoroughly clean the Hall before concerts and sanitize before, during and after the concerts.

Chantal Kreviazuk – one of Canada’s most accomplished songwriters and recognizable voices –released her eighth studio album, “Get to You,” this summer. Heralded by the title track and first single, the album features 11 songs, all written and produced by Chantal with Dylan Wiggins. “This album means so much to me because it has a positive message throughout about self-love, acceptance and perseverance,” says Chantal. “It’s also the album I created the most independently without outside influence. It’s my essence of recording at the moment and for that I am so proud and happy.” The choice to proceed with the release of an album during a global pandemic was an easy one for Chantal. “The wonderful thing about music is that it is always welcomed and needed,” she says. “In times of crisis, it offers solace and comfort. Without question, now is the time to release music.” Chantal Kreviazuk is a platinum-selling, three-time Juno Award-winning artist from Winnipeg. In 2016, she returned with her sixth album "Hard Sail" after a nearly seven-year break from recorded music. During that time, she was focused on raising her three sons with husband Raine Maida, as well as her other musical passion, crafting songs. Chantal has written for Drake, Pitbull, Kendrick Lamar, Britney Spears, Christina Aguilera and Josh Groban and countless others. A holiday album - “Christmas Is A Way Of Life, My Dear” – followed in 2019, and a brand new album “Get To You” was released this summer. In 2014, Chantal and Raine became members of the Order of Canada, recognizing their efforts to raise awareness and support for numerous causes including human and animal rights, mental health, education and the environment. Chantal has been an ambassador to War Child for nearly two decades and one of the organization’s founding artists. Raine and Chantal released their first collaborative album together as MOON VS SUN, "I’m Going to Break Your Heart," as well as an accompanying documentary, earlier this year.

COVID PREPAREDNESS

OUR COMMITMENT TO YOU Immunization and Safety Measures The Aeolian Hall follows best practices in safety and immunization for all employees, volunteers, patrons and guests who participate in our programming or enter The Aeolian or its buildings. Our immunization policy – as well as decisions on social distancing, masking, etc. – are guided by legislation of the Province of Ontario and recommendations of the Middlesex London Health Unit. Due to the changing nature of the environment and the resultant public health policy changes, our policy is subject to change at any time without notice. Our immunization policy and safety measures can be found online at: COVID POLICY and SAFETY MEASURES

Chantal Kreviazuk – one of Canada’s most accomplished songwriters and recognizable voices –released her eighth studio album, “Get to You,” this summer. Heralded by the title track and first single, the album features 11 songs, all written and produced by Chantal with Dylan Wiggins. “This album means so much to me because it has a positive message throughout about self-love, acceptance and perseverance,” says Chantal. “It’s also the album I created the most independently without outside influence. It’s my essence of recording at the moment and for that I am so proud and happy.” The choice to proceed with the release of an album during a global pandemic was an easy one for Chantal. “The wonderful thing about music is that it is always welcomed and needed,” she says. “In times of crisis, it offers solace and comfort. Without question, now is the time to release music.” Chantal Kreviazuk is a platinum-selling, three-time Juno Award-winning artist from Winnipeg. In 2016, she returned with her sixth album "Hard Sail" after a nearly seven-year break from recorded music. During that time, she was focused on raising her three sons with husband Raine Maida, as well as her other musical passion, crafting songs. Chantal has written for Drake, Pitbull, Kendrick Lamar, Britney Spears, Christina Aguilera and Josh Groban and countless others. A holiday album - “Christmas Is A Way Of Life, My Dear” – followed in 2019, and a brand new album “Get To You” was released this summer. In 2014, Chantal and Raine became members of the Order of Canada, recognizing their efforts to raise awareness and support for numerous causes including human and animal rights, mental health, education and the environment. Chantal has been an ambassador to War Child for nearly two decades and one of the organization’s founding artists. Raine and Chantal released their first collaborative album together as MOON VS SUN, "I’m Going to Break Your Heart," as well as an accompanying documentary, earlier this year.

COVID PREPAREDNESS

OUR COMMITMENT TO YOU Immunization and Safety Measures The Aeolian Hall follows best practices in safety and immunization for all employees, volunteers, patrons and guests who participate in our programming or enter The Aeolian or its buildings. Our immunization policy – as well as decisions on social distancing, masking, etc. – are guided by legislation of the Province of Ontario and recommendations of the Middlesex London Health Unit. Due to the changing nature of the environment and the resultant public health policy changes, our policy is subject to change at any time without notice. Our immunization policy and safety measures can be found online at: COVID POLICY and SAFETY MEASURES

Martha Wainwright is beginning again. The beguiling performer and songwriter returns with Love Will Be Reborn, out in August. Not since 2012’s Come Home to Mama has a Martha Wainwright record been so full of original written material. Wainwright’s fifth studio album follows recent years of loneliness and clarity in search of optimism and joy. Wainwright wrote the first song—and what would become the title track— of the record a few years ago. It was a very dark time, she says, but the positivity and luminosity of “Love Will Be Reborn” signalled what was to come. Wainwright was at a friend’s home in London to collaborate on something else entirely when she was struck by the need to write the song. Wainwright demures when songwriting—her process is undisciplined and she prefers to be alone. That day, soon left to that solitude, “Love Will Be Reborn” poured out of her. “I wrote the song in its entirety within ten or fifteen minutes. I was bawling.” The track feels very English to Wainwright with a soft melody and thrumming guitar, evoking pastoral scenes. Wainwright croons, “There is love in every part of me, I know/ But the key has fallen deep into the snow / When the spring comes I will find it, and unlock my heart to rewind it.” It’s poetic and mysterious, yet still there is a yearning for joy and renewal. Wainwright sang the as-yet recorded “Love Will Be Reborn” on tour, serving as an anthem, giving her hope in a time when it was hard to have some. Much of Wainwright’s songwriting since 2016’s Goodnight City felt too raw. “There were several years where I picked up the guitar, and I was so, so sad and depressed. I would just put it down because It was terrible.” Before writing it out, or writing through it for catharsis, Wainwright had to live it. Album opener “Middle of the Lake” reinforces Wainwright’s path forward as she sings over voltaic chords and percussion, “I sing my songs of love and pain / Winds of change or simply singing, I'm singing in the rain.” Her work never shies away from an existential throbbing wound. “There are a couple major subjects on the record. From what I can tell, there's really dark and then light,” she says,” It really is reflective of a very difficult period of divorce. Then, after that, it’s meeting somebody new and amazing. And so you hear certain songs about this new love.” Love Will Be Reborn does have its playful and sensual side running parallel to some grim honesty. “Hole In My Heart” is an upbeat song, with Wainwright singing, “I got naked right away when I saw you / My love was like the rain when I saw you,” as is the track, “Getting Older,” which is about aging. And this new love. Other songs, she says, “represent me trying to shake away the past a little bit, the ball and chain of that anger, trying  to escape from it.” There is no song more gripping than “Report Card.” The song is stripped to essential instrumentals punctuating her anguish. Wainwright expresses on the sombre track a feeling of deep loneliness, evoking emotional nuances particular to parents and individuals separated from their children because of custody arrangements. “I was able to crystallize that sadness by portraying this woman alone in her house.” Wainwright sorrowfully sings, “My heart is always broken and I don’t want you to feel the way i do and “If I seem sad it’s because I am.” Singing about her children and family is also familiar to Wainwright, a child from such a prestigious musical family. Wainwright has long carried this narrative featuring her famous father, Loudon, her mother, Kate McGarrigle, and her brother, Rufus. Wainwright’s writing has, of course, evolved as she has grown older and become a mother. She has changed simply by living. While she was, as she says, extremely autobiographical before, her writing has altered to protect her children in some ways. But, and more important, she says, “I can't deny myself the need to express myself. As a songwriter, I have to be able to express myself, and it would be crazy to me to not have songs that are about these two people who I care the most about in the world.” Back in Montreal, in the basement of her brand new cafe, Ursa, serving as a studio, Wainwright got to work. She enlisted the help of Toronto musicians Thom Gill, Phil Melanson and Josh Cole to perform in her band, and producer Pierre Marchand. His best known collaboration is with Sarah McLaughlin, producing some of her iconic 90s songs. Marchand also has a familial connection to Wainwright. Marchand produced her brother Rufus’s second album poses as well as Wainwright’s mother and aunt’s record, Heartbeats Accelerating. It was a record made after sometime, much like Wainwright’s gap since Goodnight City, and McGarrigle was the same age that Wainwright is now. It seems like a musical synergy only the late McGarrigle and Wainwright could have. Like many records, Love Will Be Reborn was made during a global pandemic. But the process, both freeing and infuriating, offered Wainwright a new way of creating. She let go a little more, giving way for Marchand to play around with vocals, emphasizing the beauty in its inherent scratchiness and edge. This record, Wainwright jokes, is her Canadian record, as she’s back in Montreal, working with musicians from Toronto, and Marchand as producer. Martha Wainwright's role as an artist has always been to embrace her wildness and sketch out her raw depth. This edge is what makes Wainwright uncompromisingly herself, and continues to draw in an audience two decades on. To begin again does not mean starting over. This process of rebirth honours the past to move forward. Love Will Be Reborn captures Wainwright’s heart in transition. In an effort to rise out of some painful depths, as she says much like a phoenix from the ashes of an existential twilight, Wainwright bore witness to what her heart endured to find a new joy once more.

COVID PREPAREDNESS

OUR COMMITMENT TO YOU Immunization and Safety Measures The Aeolian Hall follows best practices in safety and immunization for all employees, volunteers, patrons and guests who participate in our programming or enter The Aeolian or its buildings. Our immunization policy – as well as decisions on social distancing, masking, etc. – are guided by legislation of the Province of Ontario and recommendations of the Middlesex London Health Unit. Due to the changing nature of the environment and the resultant public health policy changes, our policy is subject to change at any time without notice. Our immunization policy and safety measures can be found online at: COVID POLICY and SAFETY MEASURES

The Aeolian Phoenix Sessions take centre stage... in the comfort of your own home. Each month we premier at least four artists' recordings from the Aeolian stage. Membership to the Phoenix Sessions is $20 per month (recurring) and you select the productions you want to watch.

Aeolian’s Phoenix Sessions are proud to produce four outstanding performances in March. For just $20 you have access to all four digitally streamed productions anytime, anywhere. One new show will be released every Friday including: Marty Kolls, Andrew Collins, Luke McMaster, and Fraser Teeple.

Subscribe once, enjoy live music all month long!

You will receive a confirmation email including a link that you will use each time you wish to view a March performance. Save that link… or follow instructions at www.aeolianhall.ca/phoenix.

Mando maestro Andrew Collins finds himself – through no actual fault of his own – at the epicentre of Canada’s burgeoning acoustic/roots music scene. He didn’t invent it – but he's certainly been a contributor, having co-founded seriously noteworthy Canadian bands like the Creaking Tree String Quartet, the Foggy Hogtown Boys and, more recently, his namesake Trio. That’s not to mention the fact that this prolific, robust performer – comfortable on mandolin, fiddle, guitar, mandola and mandocello – composes, produces, arranges, writes and teaches across multiple genres, including a popular collision of folk, jazz, bluegrass, celtic, and classical.

As Collins gathers up innumerable JUNO nominations (5) and Canadian Folk Music Awards (7) won by his various ensembles, he’s zeroing in on the work he does with Trio-mates:  fellow string guru Mike Mezzatesta, whose versatility shines through on guitar, mandolin, fiddle and mandola, and in-the-pocket James McEleney holding it down on the bass, mandocello and vocals. Showcasing a dizzying number of styles and instruments on stage, Collins and Co. appear to live by the old adage, “idle hands are the devil’s workshop”, likely keeping them just ahead of his grasp. Bending and blending genres, these musical shape shifters land somewhere between the re-imagined worlds of Béla Fleck and Newgrass invader, David Grisman.

The Aeolian Phoenix Sessions take centre stage... in the comfort of your own home. Each month we premier at least four artists' recordings from the Aeolian stage. Membership to the Phoenix Sessions is $20 per month (recurring) and you select the productions you want to watch.

Aeolian’s Phoenix Sessions are proud to produce four outstanding performances in March. For just $20 you have access to all four digitally streamed productions anytime, anywhere. One new show will be released every Friday including: Marty Kolls, Andrew Collins, Luke McMaster, and Fraser Teeple.

Subscribe once, enjoy live music all month long!

You will receive a confirmation email including a link that you will use each time you wish to view a March performance. Save that link… or follow instructions at www.aeolianhall.ca/phoenix.

Singer-songwriter Marty Kolls brings the energy of her east coast upbringing, classical music training, and life-long experience on the stage to every one of her performances. She mesmerizes her audience with her voice, melody and presence, with songs that speak of living life from the heart. “Marty Kolls is a revelation,” says the London Free Press’ Arts Editor, James Reaney. Marty released her first full length album entitled ‘This Life’ in 2014 to a standing room only audience at one of Canada’s top rated and intimate music venues, Aeolian Hall. This performance was an experience for all who attended and awaited for the arrival of this much anticipated album including her friend and producer Simon Larochette of Sugar Shack Studios. The album sums up much of Marty‘s experience as an artist and lover of life, not without it’s disappointments and battles. The title track ‘This Life’, inspired by a Richard Linklater film ‘Waking Life’ urges us to live in the present before there is ‘nothing left to give’.  Like warning bells going off in your head, the bombast of the horns and punch of the drums reiterate the same message. An artist who writes from experience Marty takes her audience to the many places she’s lived such as her beloved New Brunswick with it’s winding roads and formative memories.  She also speaks of her times living and working for years in Asia as a musician and teacher where her appreciation for privileged life was awakened. Upon her return to Canada in 2006 Marty was thrown into the mix of musical talent in Toronto Ontario. Finding her way through the modern era of online overnight sensations, she nestled into the musical venues of the west end like the Cameron House and the Dakota Tavern carrying on the traditions of her live music upbringing. There she stumbled upon producer Jesse Capon and together they produced a two song CD through the FACTOR Music Demo Grant, now offering Marty something to share with the industry. It wasn’t long before her stories would take a new turn upon discovering she was pregnant with her daughter, and shortly after made the move with her husband to his home town of London Ontario where they now live. Continuing to make music in a number of bands, including well known cover-grass band Kevin’s Bacon Train, Marty has found a home and community of strong musicians and friends. Now sharing the stage with acts like Sarah Harmer, Dan Mangan and Whitehorse, she continues to love and take pleasure in the good fortune that is ‘This Life’.

Quiet Talkers – The third release from London, Ontario born singer/songwriter Ken Yates.

Reuniting with Jim Bryson, who produced Yates’s 2016 release “Huntsville”, (which won two Canadian Folk Music Awards for Songwriter of the Year and New Artist of the Year), Quiet Talkers is a dark, introspective step away from acoustic, guitar-driven, folk songs, yet still maintains Yates’ signature guitar style and lyrics that never waste time getting to the point.

(Says Yates, “This by far my most personal album to date. I’ve always been better at observing than being a part of the action, so I like to think of this collection of songs as “thoughts from the quietest person in the room”. ) If Huntsville was about his experiences on the road, Quiet Talkers is about coming home, facing the monsters hiding under the bed – or in some cases, the monsters hiding in plain sight.

In songs like Grey County Blues, Surviving Is Easy, and Safe From Yourself, Yates tackles the challenges of mental illness and how it can lead to complacency, singing “I couldn’t tell you why the seasons roll on by but I am frozen still. If I don’t know by now I don’t think I ever will”, while When We Came Home and Disillusion Day search for the light at the end of the tunnel only to find there is no end.

Yet amongst all this darkness there is plenty of light. In Two Wrongs, Yates sings about two imperfect people finding a balance in one another, and Evangeline speaks words of encouragement, “Life can be a gold mine, if you’ve got a good mind. Stay inside the right lines, but don’t keep it too clean, Evangeline”.

On working again with Jim Bryson, Yates says “I didn’t really want to make another folk record, so this time around I wanted to let Jim loose and work his indie-wizard magic on these songs. We both come from very different musical backgrounds, but have similar taste, so it makes for a great musical bromance ”.

After almost a decade of extensive touring, supporting artists like Passenger, Stu Larsen, Rose Cousins and Jenn Grant, Yates is starting to find peace in his role as an independent artist. “Lately I’ve been able to take a step back and look at all the things I’ve been able to achieve almost purely on my own, and I’m starting to appreciate the small victories now”.

Welcome to the Aeolian Phoenix Sessions

The Aeolian Phoenix Sessions take centre stage... in the comfort of your own home. Every month we premier at least four productions recorded at Aeolian's studios or in the artist's home. The Aeolian Phoenix Sessions are intended to provide patrons with a cross-section of the music going experience. From classical to jazz, rock to country, and bluegrass to folk, the Sessions aim to bring music back into your home and heart. Interested in one show only? Trust us: you'll like what you see. Try the Phoenix Sessions all month and experience a few productions that you might never have seen in person. Our goal was to reignite live music and get artists on stage, technicians behind the soundboard and our patrons on their feet listening to extraordinary talent in extraordinary times.

Terms and Conditions

Membership to the Phoenix Sessions is $20 per month (automatically recurring) and you select the productions you wish to enjoy. Though membership renews automatically, patrons must validate their membership number every month to receive an access code for each new set of productions by email. This process is not automatic. Patrons will receive their first access code immediately upon registration. An access code is only good for one calendar month. Validation instructions are contained in the Membership tab on this page, in our weekly newsletter and in the monthly rollover announcement sent by the Aeolian Box Office. We do not have a multi-viewer pass. If you plan to safely watch with friends or family, please consider donating to further offset the costs associated with these productions. Tickets to individual productions are not available. If you do not intend to subscribe for longer than one month, refunds will not be provided to patrons who forget to cancel their membership or who have not read the terms and conditions: membership renewal is automatic every 30 days. This information is noted on every ticketing page, on event pages and marketing, on event posters and in our weekly newsletter. It is important to read information carefully before joining so as to not misunderstand how membership works. Upon registration and after monthly validation, you will receive a confirmation email including a link that you will use each time you wish to view a performance. Save that link… or follow instructions at www.aeolianhall.ca/phoenix to receive it again. Shows will be available on the date and time specified on Aeolian's website. PRODUCTIONS ARE AVAILABLE FOR A MAXIMUM OF TWO WEEKS AFTER PREMIER. IF YOU ARE PURCHASING MORE THAN 30 DAYS BEFORE THE MONTH BEGINS, YOU WILL BE BILLED EVERY 30 DAYS AS A RECURRING MEMBER. IF YOU ARE SPECIFICALLY INTERESTED IN AN INDIVIDUAL MONTH, PLEASE PURCHASE  YOUR PASS ON FIRST OF THE MONTH. Payment is final. No refunds will be offered.

Scott Brunelle is pleased to be performing, live in person, on the heels of his new album “Epiphenomena.” The record showcases Scott at his very best, with full arrangements of dreamy, powerful, prog rock sure to ignite the imagination. Sweeping sounds are contained within needle-sharp songwriting, the pieces punctuated by the seasoned musicianship of Scott and drummer Spencer Kring. A solo set and band set will both be performed. Expect a journey through the big questions of life, and to be uplifted by beautiful music along the way.

Scott Brunelle was raised in Bayham, Ontario, and first began playing in London in the Punk/Hardcore scene (2000s). In his teen years he developed an affinity for progressive rock, fingerstyle acoustic guitar, and folk songwriting. This wide breadth of influences informs Scott’s signature blend of “progressive folk music”, carried by his strong guitar chops and expressive vocals. Scott has been a proud member of the London music community for the past 10+ years, and has recently put out a milestone album in “Epiphenomena”, supported by a grant from the London Arts Council. Scott worked with veteran mix engineer Dean Nelson (Beck, Rolling Stones, Buck 65, Goo Goo Dolls) and mastering engineer Harris Newman (Godspeed You! Black Emperor, Basia Bulat, Orville Peck, Wolf Parade). “Epiphenomena” is a simultaneously expansive and concise expulsion of Scott’s unique vision which he is proud to share. Fans of Jeff Buckley, Elliott Smith, and John Frusciante are sure to enjoy.

 

Welcome to the Aeolian Phoenix Sessions

The Aeolian Phoenix Sessions take centre stage... in the comfort of your own home. Every month we premier at least four productions recorded at Aeolian's studios or in the artist's home. The Aeolian Phoenix Sessions are intended to provide patrons with a cross-section of the music going experience. From classical to jazz, rock to country, and bluegrass to folk, the Sessions aim to bring music back into your home and heart. Interested in one show only? Trust us: you'll like what you see. Try the Phoenix Sessions all month and experience a few productions that you might never have seen in person. Our goal was to reignite live music and get artists on stage, technicians behind the soundboard and our patrons on their feet listening to extraordinary talent in extraordinary times.

Terms and Conditions

Membership to the Phoenix Sessions is $20 per month (automatically recurring) and you select the productions you wish to enjoy. Though membership renews automatically, patrons must validate their membership number every month to receive an access code for each new set of productions by email. This process is not automatic. Patrons will receive their first access code immediately upon registration. An access code is only good for one calendar month. Validation instructions are contained in the Membership tab on this page, in our weekly newsletter and in the monthly rollover announcement sent by the Aeolian Box Office. We do not have a multi-viewer pass. If you plan to safely watch with friends or family, please consider donating to further offset the costs associated with these productions. Tickets to individual productions are not available. If you do not intend to subscribe for longer than one month, refunds will not be provided to patrons who forget to cancel their membership or who have not read the terms and conditions: membership renewal is automatic every 30 days. This information is noted on every ticketing page, on event pages and marketing, on event posters and in our weekly newsletter. It is important to read information carefully before joining so as to not misunderstand how membership works. Upon registration and after monthly validation, you will receive a confirmation email including a link that you will use each time you wish to view a performance. Save that link… or follow instructions at www.aeolianhall.ca/phoenix to receive it again. Shows will be available on the date and time specified on Aeolian's website. PRODUCTIONS ARE AVAILABLE FOR A MAXIMUM OF TWO WEEKS AFTER PREMIER. IF YOU ARE PURCHASING MORE THAN 30 DAYS BEFORE THE MONTH BEGINS, YOU WILL BE BILLED EVERY 30 DAYS AS A RECURRING MEMBER. IF YOU ARE SPECIFICALLY INTERESTED IN AN INDIVIDUAL MONTH, PLEASE PURCHASE  YOUR PASS ON FIRST OF THE MONTH. Payment is final. No refunds will be offered.

The Aeolian Phoenix Sessions take centre stage... in the comfort of your own home. Every month we premier at least four recordings from the Aeolian stage. Membership to the Phoenix Sessions is $20 per month (recurring) and you select the productions you want to watch.

One new show will be released every Friday including: Genevieve Fisher, Andy Cloutier, Julian Taylor and Tara & Tom Dunphy of The Rizdales.

Subscribe once, enjoy live music all month long!

You will receive a confirmation email including a link that you will use each time you wish to view a performance. Save that link… or follow instructions at www.aeolianhall.ca/phoenix.

Julian Taylor’s recent solo recorded album ‘The Ridge’, has received and continues to receive critical acclaim across the global music community since its release in June 2020. Best known for his work as lead singer/composer for the Julian Taylor Band and his earlier years with Staggered Crossing, has led to the production and release of this latest celebrated album.

‘The Ridge’ has been hailed as Julian's breakout album. Artists including Jim Cuddy, William Prince, Rhett Miller, AHI and Justin Rutledge amongst others, have sung the albums praises.

International publications such as American Songwriter, Americana Highways, Glide Magazine, Americana UK and The Bluegrass Situation, to name but a few, have embraced it and compared it to artists including Bruce Springsteen, Gordon Lightfoot, Joni Mitchell, Jason Isbell and Neil Young.

The first single from the album (the title track) ‘The Ridge’, hit #1 on the Indigenous Music Countdown; the album debuted at #17 on the European Americana Charts; #19 on The Root Music Report, and #47 on the Earshot Charts. To date ‘The Ridge’ album has received over 1 million streams on Spotify and debuted at #12 on The Canadian Soundscan Chart. ‘The Ridge’ has also achieved radio airplay in international territories including UK, Benelux countries, Australia and further afield.

Welcome to the Aeolian Phoenix Sessions

The Aeolian Phoenix Sessions take centre stage... in the comfort of your own home. Every month we premier at least four productions recorded at Aeolian's studios or in the artist's home. The Aeolian Phoenix Sessions are intended to provide patrons with a cross-section of the music going experience. From classical to jazz, rock to country, and bluegrass to folk, the Sessions aim to bring music back into your home and heart. Interested in one show only? Trust us: you'll like what you see. Try the Phoenix Sessions all month and experience a few productions that you might never have seen in person. Our goal was to reignite live music and get artists on stage, technicians behind the soundboard and our patrons on their feet listening to extraordinary talent in extraordinary times.

Terms and Conditions

Membership to the Phoenix Sessions is $20 per month (automatically recurring) and you select the productions you wish to enjoy. Though membership renews automatically, patrons must validate their membership number every month to receive an access code for each new set of productions by email. This process is not automatic. Patrons will receive their first access code immediately upon registration. An access code is only good for one calendar month. Validation instructions are contained in the Membership tab on this page, in our weekly newsletter and in the monthly rollover announcement sent by the Aeolian Box Office. We do not have a multi-viewer pass. If you plan to safely watch with friends or family, please consider donating to further offset the costs associated with these productions. Tickets to individual productions are not available. If you do not intend to subscribe for longer than one month, refunds will not be provided to patrons who forget to cancel their membership or who have not read the terms and conditions: membership renewal is automatic every 30 days. This information is noted on every ticketing page, on event pages and marketing, on event posters and in our weekly newsletter. It is important to read information carefully before joining so as to not misunderstand how membership works. Upon registration and after monthly validation, you will receive a confirmation email including a link that you will use each time you wish to view a performance. Save that link… or follow instructions at www.aeolianhall.ca/phoenix to receive it again. Shows will be available on the date and time specified on Aeolian's website. PRODUCTIONS ARE AVAILABLE FOR A MAXIMUM OF TWO WEEKS AFTER PREMIER. IF YOU ARE PURCHASING MORE THAN 30 DAYS BEFORE THE MONTH BEGINS, YOU WILL BE BILLED EVERY 30 DAYS AS A RECURRING MEMBER. IF YOU ARE SPECIFICALLY INTERESTED IN AN INDIVIDUAL MONTH, PLEASE PURCHASE  YOUR PASS ON FIRST OF THE MONTH. Payment is final. No refunds will be offered.

From Essex County, Canada’s southernmost point, fingerstyle guitarist Max Marshall has a passion for crafting songs out of stories from the vast palate of the Canadian folk Identity. With country blues and ragtime influences, he delivers a heartfelt, personal performance that extends from soft introspection to frenzied bluesy interpretations featuring a largely underexposed style of acoustic guitar.