Men I Trust
2022-03-13 20:00 - 23:00 (America/Winnipeg) | MB
Live Nation Presents Men I Trust

Live Nation Presents
MEN I TRUST
Sunday, February 13th, 2022
the Park Theatre
Doors 7 pm | Show 8 pm

Founded in 2014, Men I Trust is a Canadian band composed of Jessy, Dragos and Emma.

https://www.instagram.com/menitrust/?hl=en

Les Chiclettes
2022-03-15 20:00 - 21:30 | Centre Culturel Franco-Manitobain, 340 Provencher Blvd, WInnipeg, MB, R2H 0G7, Canada
Les Chiclettes, trio vocal franco-ontarien, composé de Nathalie Nadon, Geneviève Cholette et Julie Kim.

– LES PORTES ET LE BAR OUVRENT À 19H!
– LES BILLETS SONT ÉGALEMENT DISPONIBLES À LA PORTE!
Les Chiclettes, trio vocal franco-ontarien, composé de Nathalie Nadon, Geneviève Cholette et Julie Kim, fêtent cette année leur 10e anniversaire! Propulsées sur la scène musicale franco-ontarienne en 2010, raflant coup sur coup les prix Réseau Ontario, ROSEQ et Radarts, Les Chiclettes ont donné en dix ans plus de 300 représentations partout au Canada et en France. En 2013, elles remportent deux prix Trille Or dans les catégories « Meilleur groupe » et « Découverte ». En 2014, elles gagnent le Prix de la Franco-Fête de Toronto et se retrouvent en nomination dans la catégorie « meilleur vidéoclip » au gala Trille Or 2015. Elles représentent l’Ontario à l’émission « En direct de l’univers- spécial francophonie » (plus de 2 millions de cotes d’écoute) en 2017. Elles ont deux albums à leur actif (Les Chiclettes et Voyage à trois) qui se sont vendu à environ 3000 exemplaires.
Pour leur 10e anniversaire, Les Chiclettes continuent de mettre à profit leurs voix riches et puissantes aux solides harmonies vocales en prenant toutefois un virage musical important vers l’humour musical. Leur musique jazz, évoquant le son des Andrews Sisters, avec une touche plus actuelle, vient appuyer des textes désormais plus engagés, avant-gardistes et humoristiques. Avec leurs propos intelligents et leur perspective sur la Femme, les trois interprètes revisitent des concepts d’antan qui ont plus ou moins évolué ou traitent de manière satyrique des thèmes d’actualité.
Que ce soit sur disque ou en spectacle, Les Chiclettes, c’est en somme profiter du meilleur de la culture franco-ontarienne avec toute cette énergie et cette chaleur musicale qui donnent envie de se remuer les jarrets! Certes, elles continueront de vous séduire avec des reprises de grands standards américains, mais c’est avec leurs textes, compositions et arrangements originaux qu’elles resteront gravées dans l’univers comique musical franco-canadien.

Consignes COVID-19:

La double vaccination est nécessaire pour toutes personnes désirant entrer dans le site. Merci de présenter votre code QR ainsi qu’une pièce d’identité à l’entrée.

Le port du masque est obligatoire lorsque vous n’êtes pas assis.

La distanciation physique reste nécessaire lorsque vous êtes debout.

Ne venez pas au spectacle si vous êtes malade, même avec des symptômes mineurs.

Merci de noter que la distanciation physique quand vous êtes assis n’est pas garantie.

Said The Whale - Dandelion Tour
2022-03-15 20:00 - 23:00 | The Park Theatre, 698 Osborne Street, Winnipeg, MB, R3L 2B9, Canada
MRG LIVE Presents: Said The Whale

MRG Live Presents:
SAID THE WHALE
w/ special guests dad sports
Tuesday, March 15th, 2022
the Park Theatre, Winnipeg, MB
Doors: 7:00pm

Le Rire Zone
2022-03-16 20:00 - 21:30 | Centre Culturel Franco-Manitobain, 340 Provencher Blvd, WInnipeg, MB, R2H 0G7, Canada
Rire zone est le rendez-vous comique à ne pas rater!

– LES PORTES ET LE BAR OUVRENET À 19H00!
– BILLETS DISPONIBLES ÉGALEMENT À LA PORTE!
Créé en 2017 par Martin Bruyère et Micheline Marchildon, le Rire Zone donne l’opportunité à des humoristes locaux de se produire sur scène, devant un public! Lors de cette édition, nous avons le grand plaisir de présenter : « Dana Smith, Martin Bruyère, Michel Roy, Yan Dallaire, Barney Morin et Yvan Lécuyer ».
Soyez au rendez-vous!
Consignes COVID-19:

La double vaccination est nécessaire pour toutes personnes désirant entrer dans le site. Merci de présenter votre code QR ainsi qu’une pièce d’identité à l’entrée.

Le port du masque est obligatoire lorsque vous n’êtes pas assis.

La distanciation physique reste nécessaire lorsque vous êtes debout.

Ne venez pas au spectacle si vous êtes malade, même avec des symptômes mineurs.

Merci de noter que la distanciation physique quand vous êtes assis n’est pas garantie.

Au plaisir de rire avec vous!

Godspeed You! Black Emperor
2022-03-17 20:00 - 22:00 | The Park Theatre, 698 Osborne Street, Winnipeg, MB, R3L 2B9, Canada
Winnipeg Folk Fest Presents: Godspeed You! Black Emperor

Thursday, March 17th, 2022
Doors 7:15 pm
Show 8:00 pm
Standing / All Ages
Tickets $45 plus fees in advance.

St. Patrick's Day with The Dust Rhinos
2022-03-17 20:00 - 23:00 | West End Cultural Centre, 586 Ellice Ave, Winnipeg, MB, R3B1Z8, Canada
St. Patrick’s Day with The Dust Rhinos – Thursday, March 17, 2022

From basement pubs to festival stages the Dust Rhinos have been bringing their particular brand of punk flavoured Irish trad to venues large, small, and otherwise since 1992. Blossoming from a trio of buskers to a 5-piece Celtic rock juggernaut, the Rhinos have tread the boards with acts as varied as The Dropkick Murphys, Gaelic Storm, Alabama, Leahy, the Barra MacNeils, and the Nitty Gritty Dirt Band. Whether a house concert, pub night, or festival (Dauphin Countryfest, Festival du Voyageur, Winnipeg Folk Festival, the Grey Cup Festival and counting!) the Rhinos’ controlled chaos will get people out of their seats, on the dance floor, and clamouring for One! More! Song!
With influences that include the Pogues, the Oysterband, Spirit of the West, the Clash, and Peter Gabriel, it’s no wonder the Rhinos have a powerful, yet multi-faceted and layered sound and playing style. An aggressive, but subtle sonic assault. Ever seen a ceilidh break out in a mosh pit? Or vice versa? Expect it at a Rhinos show. As their loyal and ever-growing fan base can attest, when the Dust Rhinos are on stage, the only thing that won’t take you by surprise is how much fun you’re having.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

St Patrick’s Day Open Mic and Beer Sale with your host Kevin Bones
2022-03-17 20:00 - 23:00 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
Follow the rainbow down to the good old High & Lonesome Club, folks, and join the frolicking with your host, Kevin Bones. Tickets are FREE!

Match #13 de la LIM - Jaunes v Bleus (suivi d'une soirée Karaoké)
2022-03-18 20:00 - 21:30 | Centre Culturel Franco-Manitobain, 340 Provencher Blvd, WInnipeg, MB, R2H 0G7, Canada
Venez rire avec nous à la LIM chaque fin de semaine au CCFM. Le match d’impro sera suivi par une soirée karaoké de 21h45 à 1h du matin.

Venez rire avec nous à la LIM chaque fin de semaine à 20h au CCFM. On a tellement hâte de vivre de l’impro ensemble encore une fois. Le match d’impro sera suivi par une soirée karaoké de 21h45 à 1h du matin organisé par muvmãte et le Conseil jeunesse provincial.
Adultes 8 $ | Étudiants.es 5 $ (+frais de service)
Portes à 19 h 30 | Match à 20 h
Achetez votre billet d’avance pour garantir une place jusqu’à 20 h 15.
Consignes COVID-19:

La double vaccination est nécessaire pour toutes personnes désirant entrer sur le site. S’il vous plaît présenter votre code QR ainsi qu’une pièce d’identité à l’entrée.

Le port du masque est obligatoire lorsque vous ne mangez ou buvez pas.

La distanciation physique reste nécessaire lorsque vous êtes debout.

Ne venez pas au spectacle si vous êtes malade, même avec des symptômes mineurs.

Vous allez vous asseoir avec d’autres gens dans la salle. La distanciation physique entre les places n’est pas garantie.

Merci à nos commanditaires de la saison:

Bleus – Caisse Groupe Financier
Jaunes – Société de la francophonie manitobaine
Rouges – Conseil jeunesse provincial
Verts – Université de Saint-Boniface

Valley
2022-03-18 20:00 - 23:00 | MB
Live Nation Presents – Valley

Friday, March 18, 2022
Live Nation Presents
Valley
Doors 7 pm | Show 8 pm
Tickets $17.50 in advance
This is a NON-SEATED Event
Valley is a Canadian indie pop band based in Toronto. The band members are lead vocalist Rob Laska, guitarist Michael Brandolino, bassist Alex Dimauro, and drummer Karah James.

Ridley Bent and The Killer Tumbleweeds plus Leaf Rapids
2022-03-18 21:00 - 23:59 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
“In my heart,” Ridley Bent says, sounding for the world like a character from one of his own songs, “I rock.” (Opening set by LEAF RAPIDS.)

Like Ridley Bent’s past records, Rabbit On My Wheel reads like a collection of short stories, showcasing the Western Canada based Country artist’s keen fascination for characters whose life on the straight and narrow rarely lasts past the nearest exit to a short, crooked road.

On Rabbit On My Wheel, the 2009 CCMA nominee and 7-time BCCMA winner’s storytelling and songwriting chops are sharper than ever. But where Ridley’s 2005 MapleMusic Recordings debut, Blam, and Buckles and Boots, his 2007 followup on Open Road Recordings, ranged far and wide across the continent, this time out Ridley sticks a little closer to his life at home and on the road in Western Canada.

Although the tales are still as tall as they come, and the characters as large as life or larger, the cast of hard-drinking, fast-driving characters Ridley unleashes on Rabbit On My Wheel tend to be a shade less hell-bent on self-destruction than they are with keeping their lives between the lines and out of the ditch.

While that may be so, musically Rabbit On My Wheel definitely kicks it up a notch or six from Ridley’s last record. “In my heart,” he says, sounding for the world like a character from one of his own songs, “I rock.” So does Rabbit On My Wheel…

Recorded in Vancouver’s Factory Studios and Nashcroft Productions in Ashcroft, BC with returning producer John MacArthur Ellis (Jane Siberry, Dustin Bentall, Jeremy Fisher), the album brings together the same crack musical team Ridley hit the road with after releasing Buckles and Boots. It also finds Ridley still hip deep in a passionate love affair with old school Country, but where many of the songs on his past records have come together largely during recording sessions, these show the distinct marks of having been dragged back and forth across the country a few times. “The band’s tighter,” Ridley says bluntly. “We worked out a lot of these songs live and only had about a week off after a nice, long tour with Corb Lund before we went into the studio in December 2009.”

As tight as they are, there’s still an off-the-cuff immediacy to the record that’s a consistent hallmark of Ellis’ production. “I like to maintain the spontaneity on the record,” Ellis explains. “Some producers grind you down to get what they want out of you to the point where it’s like, ‘well, why don’t you go and play the !!#?@*!! thing yourself?’ I spend a lot of time selecting musicians. I know what they’re going to bring to the table and I just kind of wrap my arms around that. And the better Ridley gets,” Ellis adds, “the better the band gets.”

Rabbit On My Wheel also benefits from a collaboration that began shortly after Ridley’s relocation to Winnipeg in 2008, with guitarist/songwriter Chris Dunn. “Him and I did a lot of writing and working on the songs. Before this I’d get the songs, go in to the studio with the band and work it out. Having a guitar player there to bounce ideas off in the pre, pre production was very valuable. He’s a big part of the album.”

Channeling the high-energy performance ethic of artists like Dwight Yoakum and Little Feat, Ridley and his band tear a deep strip off the joint with tracks like “Square Your Hat”, which features a guest appearance by renowned Canadian guitarist Luke Doucet (Veal, Sarah McLachlan), “Good Looking Country”, a song inspired by Ridley’s one and only, who he moved from Vancouver to Manitoba to be with, and the album’s closing track “Burning Down Barns”, on which every player in the band gets a chance to wail.

As ever, there are quieter moments as well. Ridley’s never afraid to pepper his records with a few thoughts on love and loneliness – and his evolving cast of moonshine-running, racecar-driving malcontents tend to know their way around the ladies as well as they do the back roads of the west. Of course these are love stories told the way only Ridley can; tracks that run the gamut from hard and bitter to hardly better, including a beautifully rendered, deliberately down-tempo take on the classic Dickey Lee song made famous by George Jones in 1962, “She Thinks I Still Care”.

While much of Ridley’s new material is drawn from real life experiences he’s gathered up on the road, Rabbit On My Wheel still has its share of shady characters, jackknifing tractor-trailers and whiskey-fuelled bar fights. And for those who identify strongly with Ridley’s less reasonable characters – the ones who tend to prefer to stir things up with a pistol in one hand and a bottle in the other – there’s The Blood Trilogy. A companion EP recorded during the same sessions and co-written with Dunn – a highly satisfying three-song western epic of violence and vengeance informed by Ridley’s ongoing fascination with the bleak worlds of writers like John Steinbeck and Cormac McCarthy.

Simply put, whether it’s love going strong but wrong in “Livin’ With Her Ex”, the straight up hooks of the album’s title track, or the three way struggle between Junior Johnson, the whiskey and the wife, on lead single, “I Can’t Turn My Back On the Bottle”, Rabbit On My Wheel has everything listeners have come to expect from Ridley Bent and more – A smoking twelve-song set chock full of fast cars, fine looking ladies and fist fights that finds Ridley burning through a landscape of big country skies, with one hand on the steering wheel and one eye on the bottle every mile of the way.

The Mariachi Ghost - 7 PM & 10 PM SHOWS
2022-03-19 19:00 - 23:59 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
The Mariachi Ghost, from Winnipeg, summon ghosts of old Mexico through traditional Mexican song, dance, haunting synths, explosive guitar.

The Mariachi Ghost, from Winnipeg, Canada, summon the ghosts of old Mexico through traditional Mexican song, haunting synths and explosive guitar lines, alongside rich harmonies, commanding lead vocals and spectral dance. Their show leaps from anguish and longing to a raging fury in a heartbeat.

The band started as an art project among friends in 2009 and has since grown to an internationally acclaimed touring act. The Mariachi Ghost has played festival stages such as Interstellar Rodeo, the Pan-American Games and the Winnipeg Folk Fest mainstage. The band has performed at SXSW, Tallinn Music Week, Mundial Montreal and Breakout West, Canadian Music Week.

Their first full-length album won the “Best World Music Album” at the Western Canadian Music Awards and received international radio play. In 2015, they collaborated with legendary film director Guy Maddin to create a music video. The band’s upcoming work “Puro Dolor” is inspired by Pedro Páramo, the iconic work of Mexican literature, as well as the magical realism movement in Latin America. Through the story’s lens, the band explores contemporary themes of toxic masculinity, prejudice and elitism. The Mariachi Ghost is currently expanding their artistic reach with a theatre play and planning an international tour.

Gala Juste pour rire
2022-03-19 20:00 - 21:30 | Centre Culturel Franco-Manitobain, 340 Provencher Blvd, WInnipeg, MB, R2H 0G7, Canada
Gala Juste pour rire

Le Gala Juste pour Rire revient en présentiel !!
Samedi 19 mars de 20h à 21h30, retrouvez un plateau humoristique exceptionnel avec Neev, Andé Sauvé, Simen Kara et Micheline Marchildon !
– LES PORTES ET LE BAR OUVRENT À 19H00!
– BILLETS DISPONIBLES ÉGALEMENT À LA PORTE!
Consignes COVID-19:

La double vaccination est nécessaire pour toutes personnes désirant entrer dans le site. Merci de présenter votre code QR ainsi qu’une pièce d’identité à l’entrée.

Le port du masque est obligatoire lorsque vous n’êtes pas assis.

La distanciation physique reste nécessaire lorsque vous êtes debout.

Ne venez pas au spectacle si vous êtes malade, même avec des symptômes mineurs.

Merci de noter que la distanciation physique quand vous êtes assis n’est pas garantie.

Au plaisir de rire avec vous!

Omnium Gatherum
2022-03-20 19:30 - 23:00 | MB
Omnium Gatherum – Origin North American Tour 2022

Ninjacat Productions and The Park Theatre presents
Sunday March 20 2022 at the Park Theatre
OMNIUM GATHERUM
with guests
ALLEGAEON
BLACK CROWN INITIATE

Tickets available online at www.myparktheatre.com
On sale Oct 29 at 11am

Molly Johnson
2022-03-22 20:00 - 22:30 | West End Cultural Centre, 586 Ellice Ave, Winnipeg, MB, R3B1Z8, Canada
Molly Johnson – Tuesday, March 22nd at 8:00pm

Known as one of Canada’s greatest voices, award-winning jazz vocalist Molly Johnson is a mother, singer-songwriter, artist and philanthropist, who has just released her highly anticipated new album, “Meaning To Tell Ya”. Produced by multiple GRAMMY Award winning Producer, Larry Klein (Joni Mitchell, Tracy Chapman, Madeleine Peyroux, Melody Gardot, Norah Jones); it is more than a jazz record. It’s funk, it’s soul, it’s groove played by some of Canada’s best musicians. Says Molly: “Working with Larry was magic. When it was finally my turn, I jumped at the opportunity. This is a record I have been wanting to make for years. I can’t wait to share it with everyone!” Says Larry: “Molly has the kind of musical gift that cannot be cultivated by musical education or assiduous practice. She has great natural musical instincts, and an irresistible signature to her voice. She is a rare and wonderful talent.”
Molly’s story starts in the mid-sixties when as a young grade schooler, she and her brother, Clark Johnson, were tapped by legendary Toronto icon and producer Ed Mirvish to appear in Porgy and Bess at the Royal Alexander Theatre. In time, Porgy and Bess was followed by South Pacific, Finian’s Rainbow and other classic musicals. With the desire to become a choreographer, the budding child star was soon enrolled in the National Ballet School. Eventually Molly was taken with the idea of writing songs and the future chanteuse began to see herself as a potential songwriter.
At 15 years old, Molly fronted a disco band, A Chocolate Affair, lasting just over a year. In 1979, she formed a funky art rock group, Alta Moda (Italian for “High Style”), which later morphed into the harder rocking Infidels. While Molly was trying to make headway in the world of rock and roll with both Alta Moda and Infidels, she began a parallel career as a jazz singer.
By the late 1990s, Molly had started her family and, being burned twice by record companies, was contemplating giving up on the music business – until Toronto songwriter and producer Steven Mackinnon suggested she should write some songs with him. The partnership proved successful after a dozen or so songs when MacKinnon declared, “I think we have a record.” The debut jazz album Molly Johnson (2000) was issued to critical acclaim but unfortunately, Molly’s record company, Sony Corp., went bankrupt shortly after the CD’s release. Three years later, she recorded her second jazz-pop release, Another Day (2003), which led her to become a bonafide star in France.
Molly’s next album, Messin’ Around (2006), was her first album recorded with Universal Music Canada. Recorded “live” off the floor alongside her band mates in 14 days, the result was an extraordinary and sophisticated pop record that infused Molly’s well-honed melodic skills, artful Tin Pan Alley style lyrics, jazz phrasing and overall pop sensibility.
Since then, Molly has released two more albums, which includes Lucky (2008) and The Molly Johnson Songbook (2011). In 2009, Molly won a Juno Award for Best Vocal Jazz Album for her fourth full-length, career milestone album Lucky and also received the 2009 National Jazz Award for Best Female Vocalist.
Molly has performed throughout Canada, the United States, and France and alongside renowned artists including Tom Cochrane, Blue Rodeo, Tom Jones, Jackie Richardson, Anne Murray, Stéphane Grappelli, Peter Appleyard and more. Molly has also graced the stage performing for some of the world’s most prominent icons including the Prince and late Princess of Wales on the Royal Yacht Britannia, as well as Nelson Mandela and legendary producer and trumpeter Quincy Jones. Molly is also the sister of Clark Johnson(actor/director), Ron Johnson (social worker) and Tabby Johnson (actress/singer).
Dedicated to supporting communities in need, Molly established the Kumbaya Foundation and Festival in 1992, raising awareness and funds for people living with HIV/AIDS, and continues to work with several other charitable organizations each year. Molly has been awarded the Queen’s Jubilee medal, and in 2008, was honoured with becoming an Officer of The Order Of Canada (O.C.). This rare distinction was given to Molly to recognize her philanthropic work for a variety of causes and for her international contributions to the arts. In 2016, Molly launched the Kensington Market Jazz Festival, which fills this colourful and vibrant area of Toronto with over 400 local Canadian musicians, performing 150+ shows over one weekend in September to more than 5000 enthusiastic music fans. www.kensingtonjazz.com
Molly was the voice of the Canadian Broadcasting Corporation (CBC) Radio 2 Weekend Morning program where she eased listeners into their weekend with great Canadian songs, and stories about musicians and the people of Canada, from coast to coast. The Canadian music icon’s latest release, the Juno nominated, Because of Billie (2014) is a celebration of the music of Billie Holiday. Billie Holiday’s journey inspires Johnson not only as an artist, but as a model citizen. Paying homage to Holiday’s childhood struggles, Johnson donated a portion of album sales to the Boys & Girls Clubs.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

Cassidy Mann
2022-03-24 20:00 - 23:00 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
Cassidy Mann plus Taylor Jackson.

CASSIDY MANN
By entwining her acoustic roots with gentle electronic textures, singer-songwriter Cassidy Mann finds her true voice on the upcoming debut EP, If It’s Not Forever. As a lyricist, she often reshapes a small moment into a powerful and poetic song that feels both personal and relatable. What makes these recordings stand out, though, is the way the sonic approach enhances the storyline, allowing her to share her most intimate memories in a singular way.
Co-producing with her friend Roman Clarke, Mann wanted to find a cinematic yet wistful sound to complement these emotionally driven pop songs. They achieved that effect through reverb and delay on the guitars, along with crafting lyrics about specific moments in past relationships.
“My favorite thing is to write about tiny things that make the bigger picture more important somehow,” she says. “I was wondering a lot about how two people can be in the same situation and have different memories attached to those times. It’s interesting to me how memories are interpretable that way.”
TAYLOR JACKSON
More info coming soon :)

Match #14 de la LIM - Rouges v Verts (suivi d'une soirée Trivia)
2022-03-25 20:00 - 21:30 | Centre Culturel Franco-Manitobain, 340 Provencher Blvd, WInnipeg, MB, R2H 0G7, Canada
Venez rire avec nous à la LIM chaque fin de semaine au CCFM. Le match d’impro sera suivi par une soirée trivia de 21h45 à 1h du matin.

Venez rire avec nous à la LIM chaque fin de semaine à 20h au CCFM. On a tellement hâte de vivre de l’impro ensemble encore une fois. Le match d’impro sera suivi par une soirée trivia de 21h45 à 1h du matin organisé par muvmãte et le Conseil jeunesse provincial.
Adultes 8 $ | Étudiants.es 5 $ (+frais de service)
Portes à 19 h 30 | Match à 20 h
Achetez votre billet d’avance pour garantir une place jusqu’à 20 h 15.
Consignes COVID-19:

La double vaccination est nécessaire pour toutes personnes désirant entrer sur le site. S’il vous plaît présenter votre code QR ainsi qu’une pièce d’identité à l’entrée.

Le port du masque est obligatoire lorsque vous ne mangez ou buvez pas.

La distanciation physique reste nécessaire lorsque vous êtes debout.

Ne venez pas au spectacle si vous êtes malade, même avec des symptômes mineurs.

Vous allez vous asseoir avec d’autres gens dans la salle. La distanciation physique entre les places n’est pas garantie.

Merci à nos commanditaires de la saison:

Bleus – Caisse Groupe Financier
Jaunes – Société de la francophonie manitobaine
Rouges – Conseil jeunesse provincial
Verts – Université de Saint-Boniface

An Evening With Ron Sexsmith
2022-03-25 20:00 - 23:00 | West End Cultural Centre, 586 Ellice Ave, Winnipeg, MB, R3B1Z8, Canada
Ron Sexsmith – Saturday, May 9th at the West End Cultural Centre

Every ticket for this show includes a digital download of Ron Sexsmith’s forthcoming album, Hermitage (available April 17, 2020). Approximately 7 days after purchase, you will receive an additional email with instructions on how to redeem your album. Canadian residents only. Not valid for Fan to Fan Resale
—–
At 56, Canada’s foremost well-heeled troubadour has made a most unlikely discovery: domestic bliss. All it took, it turns out, was leaving the city he loved.
Following 30 years as an emblem of Toronto’s west end, Ron Sexsmith reluctantly uprooted to the serene hamlet of Stratford, Ontario, and the melodic, playful, theatrically vivacious Hermitage came gushing out.
“Almost immediately after arriving here I just felt this kind of enormous stress cloud evaporate and all these songs started coming,” recalls Sexsmith. “I’d walk along the river every day into town and feel like Huckleberry Finn or something. It had a really great effect on my overall state of being.”
This new zen can be heard from the first moments of Kinks-esque album opener, “Spring of the Following Year,” as the serene sound of birds situate the listener into Sexsmith’s state of grace.
“We’d moved in the winter time and I was imagining how pretty it was going to be in the spring,” he explains. “We have this sort of idyllic kind of existence — we have bunnies in the yard and are surrounded by trees on all sides, so we get tons of birds. Every morning I hear these cardinals and we had a duck in the yard; I’d never really noticed birds in Toronto.”
It’s not like he was planning to write his 16th long player as soon as he arrived, he adds. After all, Sexsmith was already quite busy turning his first novel, Deer Life, into a prospective musical. But when melodies as infectious as the Chi-Lights-inspired “You Don’t Want to Hear It” or the ear-worm inducing “Lo and Behold” entered his mind, he had to get them on record. Adding his signature mischievously astute worldplay (in “Dig Nation,” for example) to ground the album firmly in the Sexsmith oeuvre. Even the album’s title is a coy subversion of the 15 time Juno nominee’s own expectations upon arriving in Justin Bieber’s hometown. “I felt I’d reached the age where I could be a hermit finally, but it didn’t really work out that way,” he laughs.
Further reflecting Sexsmith’s new confidence, Hermitage is the first album on which he played nearly all the instruments, an idea he credits to producer and longtime drummer Don Kerr. “Don said ‘Why don’t you make one of those sort of Paul McCartney-type records?’ and it’s like a light bulb went on over my head,” he says. “That had never occurred to me.”
The result is the songwriter’s most self-assured collection, still charmingly subtle yet increasingly full of musical vigor, as on “Chateau Mermaid,” an ode to his own Stratford Graceland, or the surprisingly hopeful “Small Minded World,” (originally penned for the Addams Family film), in which Sexsmith croons, Oh now don’t feel blue ‘cos they don’t get you, you’ll win this small minded world.
“I think it’s a very upbeat album, lyrically,” he confirms. “It’s reflective of the sort of peacefulness that I’d recently felt. I’m getting more comfortable in my own skin.”
—–
COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

The Darkness
2022-03-25 20:00 - 23:00 | MB
The Darkness – Presented by MRG Live

The Darkness
MotherHeart Tour 2022
w/ The Dead Deads
Friday, March 25th, 2022

Attica Riots - TWO NIGHTS - FRI & SAT MARCH 25/26
2022-03-25 21:30 - 2022-03-26 23:59 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
TWO NIGHTS with Attica Riots. Powerhouse rock and rollers from Winnipeg, Manitoba, Canada!

The members of Canada’s Attica Riots have what can only be described as a cosmic musical connection. Any musician will tell you that’s not always the case in a band scenario, where democracy can fail when egos, opinions, and dominant personalities do battle, thus sinking a band before it even sets sail. So, when you have that type of “on the same page” connection, you hold on to it. And that’s just what Attica Riots are doing. You can’t argue with the results, which are the fiery and infectious alt-rock anthems this trio creates.

James Vincent McMorrow
2022-03-28 20:00 - 23:00 | The Park Theatre, 698 Osborne Street, Winnipeg, MB, R3L 2B9, Canada
WFF Presents James Vincent McMorrow

Doors: 7:00 PM
Show: 8:00 PM
Tickets: Available on Friday, September 24, 2021 at 10:00 AM
PLEASE NOTE: Any purchase of concert tickets through third-party sites or resellers is at your own risk. Tickets should only be purchased through winnipegfolkfestival.ca or someone you know and trust to reduce risk.
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ABOUT
“There’s a particular lyric on James Vincent McMorrow’s forthcoming fifth studio album which works as a skeleton key for the entire record. It comes at the beginning of the sparse and rhythmic “Gone,” when an animated McMorrow sings, “I give less fucks than I used to, still give a lot of fucks.”
It’s a sign of belligerent intent: known as a cryptic vocalist whose poetic lyrics often needed a second or third analysis, the line is a provocative uppercut. “I’ve always written in a truthful way,” says McMorrow, “but I’ve grown a lot in these last few years and now I feel less fearful than ever.” On this album, he’s come to understand and accept himself on a deeper level. It’s not about how everything in life suddenly makes sense; it’s about making peace with the fact that nothing does.
Over the last decade, Dublin-born McMorrow has established himself as a multi-faceted songwriter with a vast spectrum of styles. He sings, produces, plays everything, and has a network of collaborators that stretches around the world. He’s crafted a home for himself in the worlds of hip-hop and textured r&b even worked on Drake’s 2016 album, Views. It’s fair to say his early days of being pigeon-holed as an ‘indie folk singer-songwriter’ are long dead.
He’s remained resolutely independent this whole time, self-financing his artistic ambition. But for his new record, Grapefruit Season, he felt it was time to push things up a level. “I’ve always made albums to the degree that I could afford, and they usually hit a wall. A point would come where you’ve maxed out your budget and you have to compromise,” he says. This time, he wanted no compromises. For Grapefruit Season, he signed to a major (Columbia Records), flew out to LA, rented a big studio and started bringing collaborators in.
But things didn’t work out the way he’d planned. The LA instinct is to move fast and get things made and out so that more can be made. The sessions were energized and fruitful, and he created a bank of special moments, but McMorrow quickly realized that the album in his mind — the album that wanted to be made — would require much more patience, detail, and specificity than LA would allow it. “I like to find something small that is amazing and blow it as wide as possible, then rip it back to square one,” he says, “that’s how I love to make music.”
He’d also just become a dad, which made him look at his craft in a whole new way. “In the past, I used to equate productivity with working as much as physically possible,” he says. “But once I had a kid — and I had this small person I wanted to be around as much as possible rather than being in the studio — I realized that it isn’t about how much you work but what you create. I realized that if I didn’t want to be in the studio, then it was because the work wasn’t as good as it needed to be.”
He went back home to Dublin. In LA he’d created the bare bones of something unique, but he didn’t know what. He got back into his usual patterns: working on his laptop at home, or at his studio five minutes down the road. It swirled in his head, a million avenues he could walk down. He wanted to bring someone in to discuss the work, someone who could give him clarity. Then one day Lil Silva told him that the Grammy and Academy Award-winning music producer, Paul Epworth, was a big fan. “This was someone I’d admired since I was a kid,” says McMorrow.
In Epworth’s studio, a big refurbished church in North London, the pair explored their musical imaginations for a while. “I would play him something,” says McMorrow, “he would run around the room, jump on some synths, or whip out a guitar and start playing something. It was super infectious. He energized me. He basically said: you don’t need anyone’s help on this, you got it. And when one of the best producers in the world is telling you that, it means something. I’d lost a little faith in my workflow and methods. But he helped me realize my brain would make sense of this.”
McMorrow’s internal journey of the last ten years underpins the lyrics of the album. “I have more responsibilities, people and expectations around me than ever, and the world is constantly telling me to change and grow as a person,” he explains. “But I don’t feel any more responsible or capable than I did when I was 18 years old. The record is about embracing the idea that it’s okay to not have things figured out. It’s about embracing the chaos and belligerence of life, rather than bending or changing yourself to suit what society expects of you,” he says. “I see so many people trying to preach about some higher plane of thinking, but I wanted this record to just be like: I’m a mess, we all are, and that’s okay.” This feeling inspired the title of the record: Grapefruit Season.
“As a kid, I used to watch my mum eat grapefruit, she’d say it’s good for you. I started eating it a lot, even though I didn’t enjoy it,” he says. “I feel like there are so many things in life that people tell you to do because it will be ‘good’ for you or it will ‘change’ you in some way. You can spend your life trying to have these revelations, and wait for everything to click into place or make sense. But life is chaos, nobody is in control, there is no big revelation. But there is magic. I finally feel accepting of who I am and at ease.”
This idea that life is chaos spreads across the entire album. Epworth produced a handful of songs, and other collaborators include Lil Silva, Kenny Beats, Patrick Wimberly (Chairlift), and more. But the bulk of the album was written and produced by McMorrow himself. The result is myriad and intoxicating. Delicate acoustic songs sit alongside dancehall bangers in between tender r&b ballads. There’s rap beats, emo-sounding live drums, and alt-country.
A perfect example of this is the enormous sounding “Headlights.” The song opens with a vocoder reminiscent of French bloghouse, before evolving into a soaring gospel-tinged track filled with drum breaks that propel it forward. “I wanted it to start in a plaintive humble place and finish in this huge place,” says McMorrow, whose crisp and glowing vocals, by the end of the song, turn strained and impassioned. “Everyone could start to leave,” he sings, threading together bittersweet imagery of things around you fading away.
At the complete other end of the spectrum is “I Should Go,” a sparse and soul-inflected jam with a thick bass line — that was started with Tim Suby in LA and finished with Kenny Beats in between London and LA.
The song “Paradise,” which was produced by Paul Epworth and Lil Silva, features a children’s choir. The lyrics are about pretending everything is fine when it really isn’t. “It features a children’s choir because it needed to feel naive and sincere,” says McMorrow. “I’d assumed this song wouldn’t connect with a bunch of kids, but when they arrived in the studio they had learned every single line and couldn’t stop singing it. It reminded me why we make music: it’s not a selfish endeavor, it’s for everyone.”
There are no recurring motifs on Grapefruit Season. Every song stands alone, a group of islands, between which only connection is McMorrow’s diverse musical imagination. “The album is completely disconnected, and I love that,” says McMorrow. “I didn’t want a sonically consistent album, because that’s not how I listen to music. When I was a kid, I had 200 CDs in my car and would change songs mid-way, from Deftones to Justin Timberlake to N.E.R.D without any irony or concern. I’ve never brought that energy to my own work because I was afraid to. But I’ve lost that fear now. The result is a record that is by its very nature chaotic because that is how life is to me.”

Mardi Jazz - Suzanne Kennely
2022-03-29 20:00 - 21:30 | Centre Culturel Franco-Manitobain, 340 Provencher Blvd, WInnipeg, MB, R2H 0G7, Canada
Mardi Jazz – Suzanne Kennely

Depuis 1986, le Centre culturel franco-manitobain fait vibrer la culture jazz à Winnipeg au travers de son programme « Mardi Jazz ».
Après une pause forcée due à la pandémie, le CCFM offre à nouveau le Mardi Jazz, en présentiel.
– LES PORTES ET LE BAR OUVRENT À 19H00!
– LES BILLETS SONT ÉGALEMENT DISPONIBLES À LA PORTE!
L’auteure-compositrice Suzanne Kennelly jumelle ses deux grandes passions, le jazz et langue française, dans un spectacle qui offre à la fois chansons originales et un hommage aux géants de la chanson francophone. Sa voix, comme le bon chocolat, est intense et riche et sa personnalité chaleureuse.
Son premier mini-album SUZANNE KENNELLY JAZZ a récolté une nomination aux prix Trille Or (2019). Avec ses talentueux musiciens, elle prépare présentement un deuxième album dont vous entendrez des extraits en primeur. Une soirée qui fera du bien à ne pas manquer!
Singer-songwriter Suzanne Kennelly combines her two great passions, jazz and the French language, in a show that offers both original songs and a tribute to the giants of Francophone song. Her voice, like good chocolate, is intense and rich and her personality warm.
Her first mini-album SUZANNE KENNELLY JAZZ was nominated for a Trille Or award (2019). With her talented musicians, she is currently working on a second album of which you will hear excerpts. An evening that will do you good, not to be missed!

Consignes COVID-19:

La double vaccination est nécessaire pour toutes personnes désirant entrer dans le site. Merci de présenter votre code QR ainsi qu’une pièce d’identité à l’entrée.

Le port du masque est obligatoire lorsque vous n’êtes pas assis.

La distanciation physique reste nécessaire lorsque vous êtes debout.

Ne venez pas au spectacle si vous êtes malade, même avec des symptômes mineurs.

Merci de noter que la distanciation physique quand vous êtes assis n’est pas garantie.

Au plaisir de vous y rencontrer!

WINTERRUPTION - The Lytics
2022-03-30 20:00 - 22:30 | Good Will Social Club, 625 Portage, Winnipeg, MB, R3B 2G4, Canada
WINTERRUPTION – The Lytics – Saturday, January 29, 2022 at The West End Cultural Centre

Born in a South End, Winnipeg basement in 2008, The Lytics started more as a pipedream than a possibility. Growing up on a steady diet of early nineties hip hop and R’n’B, the three youngest members of the group, Andrew ‘Andrew.O’ Sannie, Anthony ‘Ashy’ Sannie and Mungala ‘Munga’ Londe honed their rhyming skills on torrented Pete Rock, J.Dilla and Dj Premiere instrumentals downloaded on to an old family computer. Their early recordings, rapped through salvaged microphones — stolen and scavenged from school media rooms — glued back together and taped to coat racks mimicking mic stands were crude, muddled and amateur, yet showed the youthful exuberance that they would eventually hone and garner critical acclaim for.Meanwhile, eldest of the group, Alex ‘B-Flat’ Sannie — brother to Anthony and Andrew — was a burgeoning young producer, making beats for some of Winnipeg’s best rappers and providing the aspiration and inspiration to his younger brothers’ perspiration.
As all good stories go, Alex would join his brothers and newly adopted cousin Munga with the goal of taking the group to the next level. They would eventually add local Dj and family friend, Lonnie ‘Ce’ Compayre and their pipedream all of a sudden had legs.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

WINTERRUPTION - Frannie Klein / Two Crows for Comfort / Bobby Dove
2022-03-30 21:00 - 2022-03-31 23:59 | X-Cues Billiards, 551 Sargent Avenue, Winnipeg, MB, R3B 1W4, Canada
Winterrutpion 2022 – Frannie Klein / Two Crows for Comfort / Bobby Dove – Wednesday, March 30th at X-Cues Cafe & Lounge

Unfortunately Diaphanie is under the weather and unable to make the show tomorrow at X-Cues Cafe & Lounge We wish her a speedy recovery.
The wonderful Frannie Klein has stepped up to help us out and it will still be a great night of music with Two Crows for Comfort and Bobby Dove
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Frannie Klein
Frannie grew up on the shores of Lake Manitoba, in Bacon Ridge. She grew up tapping trees with her grandparents, ranching cows, dancing Pow wow and competing in fiddle competitions. Coming from a very musical family, Frannie found her voice in her mid teens where she picked up guitar and singing. She’s opened up for acts like Marty Stuart and Brett Kissel and Charlie Major.
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Two Crows for Comfort
Two Crows for Comfort – a duo that had no intentions of playing anything more than an open mic here and there, and went by a different name anytime they hit the stage. Fast forward a few years and Two Crows (Erin Corbin and Cory Sulyma) have unintentionally created something that seems to work. In December 2018 the duo released their debut full-length album, ‘17 Feet’, with back-to-back sold out shows at the Handsome Daughter in Winnipeg.
Determined to keep the momentum going after the release of ‘17 Feet’, Two Crows continued playing countless shows to get through the harsh prairie winter. In summer, 2019, the duo was seen at countless festivals and even scored opportunities to open for the likes of Pokey Lafarge, Bruce Cockburn, and Ani DiFranco to name a few.
Back from touring Western Canada and still riding the wave of 2019, the duo’s biggest breakthrough came when they were named Roots Artist of the Year at the Manitoba Country Music Awards.
They hit the road again in early 2020 making stops throughout Ontario and Quebec before they hunkered down to record their latest album ‘Show Me Light’ which was released on March 25, 2021.
You can find their new album, ‘Show Me Light’ on all streaming platforms and Vinyl and CD copies are also available for purchase.
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Bobby Dove
Bobby Dove has built a following across Canada and beyond. Born in Montreal, Quebec, Bobby has become known as one of the country’s most dedicated troubadours, crooning live audiences with heart-worn originals, and paying tribute to the golden age of Country music. Along the road, Bobby has worked with a number of legendary players, and shared stages with artists such as Mary Gauthier, Richard Thompson, Irish Mythen, The Sadies and JD Mcpherson. In 2019, Bobby spent a month in residency at the Banff Centre and has performed at a number of Canadian folk fests, including the Vancouver Folk Music Festival, Vancouver Island Music Fest and Brandon Folk Fest.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

WINTERRUPTION - The Sadies
2022-03-31 20:00 - 22:30 | West End Cultural Centre, 586 Ellice Ave, Winnipeg, MB, R3B1Z8, Canada
Winterruption 2022 – The Sadies – Thursday, January 27, 2022 at the West End Cultural Centre

The West End Cultural Centre, Real Love Winnipeg and our partners across 5 other prairie cities are disappointed to announce that due to the ongoing surge of the Omicron variant of COVID-19 across the country, Winterruption WPG 2022 will have to be postponed. The event was supposed to take place January 25-30, 2022 in venues around Winnipeg, however it is incumbent on us to prioritize the safety of performers, attendees, staff, and volunteers. Therefore, new dates will be announced as soon as they are finalized.
Anyone who has purchased tickets for Winterruption shows is welcome to keep them and they will be honoured at the rescheduled dates. If they would prefer a refund on their tickets, they should be in contact with the point of purchase and their request will be processed without question. If a show is unable to be rescheduled, all tickets to the show will be refunded.
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The cover of The Sadies’ new album is a powerful image of the northern lights made by photographer David Kilabuk in Pangnirtung, Nunavut, a sight few of us will ever get to behold with our own eyes. Yet, the awe-inspiring natural beauty and mystery captured in the photo are an ideal reflection of the music contained within. No further embellishment seems necessary.
That’s been the essence of The Sadies’ story ever since the quartet comprised of singer/guitarists Dallas and Travis Good, bassist Sean Dean and drummer Mike Belitsky first exploded onto the North American scene 20 years ago. Back then there was still something called “alt-country,” a catchall for artists striving to carry on traditions with punk rock attitude. The Sadies certainly fit that description, but the breadth of their skills and musical knowledge was unparalleled since a group of fellow Torontonians left Ronnie Hawkins in the mid-‘60s to take a job backing Bob Dylan.
As the aurora borealis shifted with each album The Sadies made, the overall picture took on more defined colours. On top of that was the incredible list of collaborations—Neko Case, R&B legend Andre Williams, The Mekons’ Jon Langford, Jon Spencer, Robyn Hitchcock, John Doe, Buffy Sainte-Marie, Gord Downie, Neil Young for fuck’s sake!—each one pushing The Sadies’ own sound into new, unmapped territory. Eventually, more time was taken in between albums as focus shifted to their original songwriting, and what was once the best live band in Canada became the best band in Canada, period.
Is it fair then to call Northern Passages their masterpiece? Yes, at least until the next album comes along. With “Riverview Fog” setting a haunting tone off the top, the sense of time collapsing is palpable. The psych-folk touches are no mere homage; this is the sound of our inscrutable world, and how we manage to survive in it. The song began as a letter to their friend Rick White, whose contributions, both musical and visual, have played a huge role in The Sadies’ story. Although White wasn’t involved with Northern Passages, embedded within “Riverview Fog” is hope that White will return to the fold.
Conversely, other friendships are on display, specifically the track “It’s Easy (Like Walking),” sung by Kurt Vile who became a convert after touring in support of The Sadies years ago. Without a second thought, he laid down his vocal part in the midst of his own grueling tour schedule. It’s one of the album’s standouts to be sure, but resides in the shadow of Northern Passage’s centrepiece, “The Elements Song.” Perhaps never before has everything The Sadies do best been harnessed in the span of five minutes. And perhaps fittingly, it was the starting point for Northern Passages when the band convened at the home of Dallas and Travis’ parents north of Toronto to record throughout the winter of 2015, with Dallas once again handling production duties.
“That was the first song I wrote for this album, and it was completely an extension of our last record, Internal Sounds,” Dallas Good says. “It took the longest to write, and took the longest to record, so in a way it gave the record this daunting feeling.”
However, Dallas is quick to note that Northern Passages contains several humourous moments, albeit of the extremely dark variety he’s known for. One is the album’s most overt “country” song, “God Bless The Infidels,” a scathing takedown of religious hypocrisy perfectly suited to our current social climate. Although Dallas has never proclaimed any political allegiances in his work, there are times like now when reality checks such as this are absolutely necessary.
As Dallas has found his songwriting voice over the last several albums, so too has Travis on Northern Passages. That’s evident on the tracks “Through Strange Eyes,” “Questions I Never Asked” and “As Above, So Below,” some of Travis’ strongest material yet. “I always want to hear Travis perform songs that show what he’s capable of,” Dallas says. “He did that all over this record, especially the three songs on which he sings lead.”
The overall group mentality of huddling in a basement for several months, Big Pink-style, actually led to some parallels to the 2004 project The Unintended with Rick White and Blue Rodeo’s Greg Keelor. Northern Passages’ hazy instrumental “The Noise Museum” would have fit nicely alongside that record’s deep woods psychedelia, while closing track “The Good Years” (containing among other killer lines, “He haunted her before he was dead”), is a prime example of the “northern gothic” approach The Sadies have all but patented.
Despite the eclecticism at the heart of The Sadies’ sound, Northern Passages’ main strength is a cohesiveness that gives it a more consistent feel overall. Dallas credits this in part to recording with no time restrictions or distractions, and, significantly, by returning to the same space where he and Travis first started playing in bands. “We had nothing to lose by trying to make the record down there, and we weren’t sure if anything good would come out of it,” he says. “But removing any unfamiliar elements allowed us to focus a lot better. My parents’ basement turned out to be my favourite studio yet.”
Given all of their associations and tireless touring regimen, it can seem at times as if The Sadies are everywhere, all the time. Yet, they are a band that fans cling to like a closely guarded secret, with each new release fulfilling the promise to reach further, for all of our sakes, not just their own. With Northern Passages, the time has come to make room for more on this wild acid-folk-country-punk trip, and trust me, we’ll be better off because of it.
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Covid-19 Protocols
The West End Cultural Centre believes a healthy community is at the heart of everything we do. In accordance with the Manitoba Government and Manitoba Health protocols –

All performers, crew, staff, volunteers, and patrons must show proof of vaccination and photo ID before they can enter the venue.
Face masks are required on all WECC premises. Please wear your mask when not seated at a table and/or when not drinking or eating.

These practices are meant to keep all of us safe to enjoy all the art and music that Winnipeg has to offer.

SYML
2022-03-31 20:00 - 23:00 | MB
Park Theatre Presents SYML

SYML, Presented by the Park Theatre
W/ Field Guide
Thursday, March 31st, 2022
Doors 7 pm | Show 8 pm
Tickets $23 plus fees

WINTERRUPTION - JP Hoe
2022-03-31 20:00 - 23:00 | West End Cultural Centre, 586 Ellice Ave, Winnipeg, MB, R3B1Z8, Canada
Winterruption 2022 – JP Hoe with New Wales – Thursday, March 31st at 8pm

JP Hoe
Ottawa’s National Arts Centre or England’s Shrewsbury Folk Festival. A raucous rhythm section or a deft string ensemble. JP Hoe is a singer songwriter who continues to share his engaging brand of folk rock in one form or another. Over the years he’s brought the show to Australia, the US, Greenland, Europe, and coast to coast in Canada, with more on the horizon. His hometown JP Hoe Hoe Hoe Holiday Show has grown to fill the historic Burton Cummings Theatre, selling out within a few days. He’s added music to film and television soundtracks, charted on CBC Radio 2, and is a member of local super group Middle of Nowhere. His passion to create grows stronger with every project.
“Canada has produced a glut of folk musicians, all wishing to follow in the foot- steps of such trailblazing legends as Neil Young and Gordon Lightfoot. Few can reach that benchmark, but JP Hoe’s Saturday set came closer than most.” – Shropshire Star (UK)
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New Wales
‘New Wales’ draws on the simplicity and depth of the place they call home, with classic songwriting and production styles reminiscent of R.E.M. and Tom Petty, mixed with the immediacy and upbeat catchiness of MGMT and Beck. Pull back the veil on the seemingly straight-ahead pop songs and you’ll find something new every time, “I feel I’ve entered one of those vintage stores where the prices are a little higher than you want, but the crap-junk choices have already been sorted out.” says producer Rusty Matyas (Imaginary Cities, The Weakerthans).
Veteran Winnipeg Musicians David Pankratz, Sandy Taronno, Matthew Harder, Matt Worobec and Jamie Taronno have played stages all over the world, whether writing, producing or touring with their own projects or lending skills to talented friends, they’ve developed a combined century of experience in the music industry, racking up major songwriting credits, awards, and loyal fans. The first two single releases, ‘Face Tattoo’ and ‘Winnipeg’ (Fall 2019) are rich with big, sing-along melodies and chord structures that can offer energizing positivity, or reflective beauty. “They’re the kind of songs you have blaring out of your convertible while driving down the freeway,” says mix engineer Dave Schiffman (Vampire Weekend, The Strumbellas, Adele),“In my 25 plus years of making records I have always tried to work with artists who are true to themselves and their craft. New Wales more than fulfills that goal and I expect to hear big things from these guys.”
New Wales will be releasing a song, a video, and a remix every month for the rest of 2021. ‘Full Grown’, the first in line, will be released March 5th, 2021.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

Soul Shindig! Featuring The Solutions
2022-03-31 21:00 - 23:00 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
7-piece soul music sensations The Solutions kick off a brand-new monthly night of funky Memphis and Motown-style sounds!

The Solutions are a high-powered 7 piece band playing some of the best-known Soul music from the 1960s and 70s and beyond. Featuring enigmatic horns, power-house vocals and a funky rhythm section, these friends add their own unique and undeniable energy to the stage while paying homage to the original style of such artists as Stevie Wonder, Aretha Franklin and Wilson Pickett. Entertaining fans in Winnipeg for almost a decade with their dynamic performances, they’ve grown into an act well known for their ability to get people up dancing and coming back for more!

WINTERRUPTION - jonny moonbeam / riel.
2022-03-31 21:00 - 2022-04-01 00:00 | X-Cues Billiards, 551 Sargent Avenue, Winnipeg, MB, R3B 1W4, Canada
WINTERRUPTION 2022 – jonny moonbeam / riel. / Gabrielle Fontaine – Thursday, March 31st at X-Cues Cafe & Lounge

Jonny Moonbeam
Busy scrolling through his intergalactic newsfeed, lunar lad of mystery jonny moonbeam totally did not see that spy satellite he clipped, summarily crashing his spacecraft just outside Ottawa and catapulting right into the middle of a parliamentary debate on distracted driving.
He thought this was hilarious. Now stranded in Winnipeg awaiting ship repairs, he’s been parsing CPAC and writing songs about Canadian politics and 21st century living.
Digging on 90’s Much Music reruns, vintage Brit rock and any singer whose ever raised a voice for social justice, Moonbeam (a dead ringer for Daniel Jordan of Red Moon Road) reveals a brand new 4 song collection of political rockers (Co-Produced with Rusty Matyas of Imaginary Cities and mixed/mastered by Grammy nominated Phil Bova).
Tackling the Sunny Ways of a certain well quaffed PM, the non-existent clothes of an orange-tinted-emperor-baby-with-a-hand-complex and what it means to ‘stand on guard for thee’, jonny moonbeam waxes power pop politically poetic.
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riel.
riel. is a provocative honest story teller from winnipeg manitoba. using history and landscape riel. tells an honest story and depiction of his surroundings. riel. was recently recognized as an emerging indigenous artist through the manitoba arts network. riel just released their debut single “terrified” streaming on all music platforms.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.

NOLA Night - Dirty Catfish Brass Band (sponsored by Torque Brewing)
2022-04-01 19:00 - 2022-04-02 01:00 | Times Change(d) High & Lonesome Club, 234 Main St., Winnipeg, MB, R3C1A8, Canada
World-class 8-piece brass band playing the music of New Orleans in a funky downtown honky-tonk. What more do you need to know?

The Dirty Catfish Brass Band bring New Orleans Night back to the Times Change(d)! Early and late shows! 10pm show features an opening set by the Funky Miracles.

WINTERRUPTION - Morgan McMichaels
2022-04-01 20:00 - 22:30 | West End Cultural Centre, 586 Ellice Ave, Winnipeg, MB, R3B1Z8, Canada
Winterruption presents Morgan McMichaels – April 1, 2022 – 8:00pm at the West End Cultural Centre

Morgan McMichaels is the stage name of Thomas White. A local fixture in Southern California’s drag circuit, White became a reality television personality when he joined the cast of the Season 2 of RuPaul’s Drag Race.
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COVID-19 Protocols
The West End Cultural Centre will continue to require that patrons wear facemasks and show proof of vaccination for all events in the venue.
We will continue to evaluate this policy as circumstances evolve.
