OTTAWA’S BLUESFEST FEATURES POWERFUL STORIES AND EMERGING TALENT OFF THE BEATEN PATH
The average reveler at Ottawa’s Bluesfest probably went to see names like Limp Bizkit, the Lumineers, Ella Langley, or the Guess Who.
But beneath the glitz of a star-studded list of headliners, a talented cohort of musicians also merits their fair share of the spotlight.
This year’s edition of the Ottawa Bluesfest features 100 artists over the course of nine evenings of music. The acts range from well-known, Grammy-winning artists like Gwen Stefani and Sheryl Crow — to smaller Ottawa-based outfits like Nayana. Despite the ‘Blues’ fest moniker, the festival features something for everyone — a plethora of styles and genres for every audience.
Oftentimes, the draw of the headliners makes it easy to forget that the festival starts each day well before 9:30 p.m. But each night I’ve tried to come early to take in as much of the festival as possible.
Exploring Lebreton Flats before sunset is the perfect way to discover new music.
On one occasion, arriving early resulted in stumbling into my favourite act of the night. Though these artists may not have had the headline slot, they were all worth the detour.
On the first Friday night of the festival— the evening featuring Limp Bizkit — I had the opportunity to see Steve Earle. A legendary country, rock, and folk singer-songwriter as well as friend to other stars such as Waylon Jennings and Johnny Cash, Earle graced the Lebreton Stage — a medium-sized venue behind the mainstage.
At 71, Earle commanded the stage solo. Playing nothing but a guitar, and occasionally switching to the mandolin. Amidst familiar tunes like Copperhead Road, and the Galway Girl, Earle told stories of his life growing up in San-Antonio Texas, working blue collar jobs with South American immigrants.
Through song and storytelling, Earle weaved a narrative of unity, contrasting the diversity he had encountered touring Canada with the increasing tension he sees in his home country, the United States. Earle openly praised Canada, applauding the country’s diversity and acceptance of immigrants — to him a stark contrast with the United States.
The set culminated with “City of Immigrants,” a song where Earle encouraged the audience to sing along, reminding us that, “all of us are immigrants.”
A few days later, on Wednesday July 15 (headlined by Conan Gray) I stumbled into a set by Reuben and the Bullhorn Singers. Comprised of Reuben and the Dark, a Calgary-based indie-folk outfit, and the Bullhorn singers, a group of traditional singers from the Blood Tribe of the Kainai Nation of the Blackfoot Confederacy.
Formed in 2019 during an impromptu collaboration on a Calgary Stampede mainstage, the group has since become a force in Canadian music. The collaboration has also been a powerful initiative for truth and reconciliation. The group’s combination of Western and Indigenous music is a unique fusion of two traditions that they hope shows Canadians the unity that can be achieved together.
The group also drew in notable audience members, with Justin Trudeau posting a video on Instagram expressing his excitement to see the band. Wrapping up the show with their song “Powerful”, the lead singer, Reuben Bullock, and the Bullhorn Singers, led by Iskotoahka (Billy) Wadsworth, sang together, “If pain is power, I’m powerful, Iskonotapii aisota”.
Friday, July 17, headlined by country singer Ella Langley, was the biggest night of the festival with a sold-out crowd of 40 000. The festival was remarkably busy shortly after 4:30 p.m. when gates opened early. Fans clamoured for a spot close to the mainstage, many adorned in black and white polka dots in anticipation of math rock duo Angine de Poitrine.
But the large crowd was a welcome surprise for Ottawa-based country singer Nayana.
“I only expected maybe a hundred people,” she said to the audience onstage, “and I thought they’d mostly be my friends and family — so this is amazing!”
Nayana had originally been crushed to find out that her set had been moved up by an hour to accommodate Angine de Poitrine. But the large crowd was a unique 50/50 blend between polka dots and cowboy hats — all of whom cheered loudly for the Ottawa artist.
“I’ve been attending Bluesfest since I was little,” Nayana exclaimed onstage, “and I’ve always imagined what it would be like to perform here. This is a dream come true.”
At the end of the energetic set, Nayana debuted a new single “Flirtin’”, the catchy chorus prompting the audience — some with polka dots, others with boots, to sing along.
After Nayana finished her set, many in the audience raised both arms in unison. Touching both thumbs and pointer fingers together, they created a triangle shape — a hand sign adopted by fans of Angine de Poitrine.
The Bluesfest crowd at Angine de Poitrine was a raucous, feverish revelry, with polka dot painted people swirling around in an animated mosh pit.
The rock duo, originally from Saguenay, Québec has experienced a meteoric rise over the last few months. After appearing on Seattle radio station KEXP, a clip of the band went viral, skyrocketing them into the public consciousness.
Playing a unique genre they describe as “Dada Pythago-Cubist Mantra-Rock”, the band uses a loop pedal to weave microtonal harmonies on the guitarist Khn de Poitrine’s guitar-bass combo. Khn is accompanied by his brother Klek’s technical yet asymmetrical drumline.
As the strange, long nosed Khn and Klek intensified their performance, the pinballing mass of fans responded in turn. Crowdsurfing, polka dot adorned fans were blasted by water sprayed by security to keep everyone cool.
I looked out of place with my cowboy hat and my striped, blue button-up shirt (which was soaked by the hose). At times, another fan and I were forced to brace against the mosh pit trying to prevent them from bouncing into those behind us, who had not expected the ferocity of the crowd.
When the rockers played their final note, the previously rowdy group were all smiles as they dusted one another off. The polka dotted crowd exited the front, making way for the western-wearing rest of the evening.
Coming early to Bluesfest made the festival all that more special for me.Though the headliners were why I got tickets, I am glad I came early to see the acts that I did. In doing so I discovered new music, stories, and styles.
So, next year at Bluesfest, show up early! Hidden beneath the headliners, you will find a powerful lineup of songwriters and storytellers. Beyond the music, I left inspired by the messages of Steve Earle and Reuben and the Bullhorn Singers.
Who knows? You might find a new song for your playlist, or you might discover the next Angine de Poitrine.
