Vicki Lovelee is a Chinese-Canadian alt-pop sensation based in Markham, Ontario. With a foundation in classical piano and a degree in jazz vocals, she masterfully blends her deep musical knowledge with a passion for pop – to create a unique genre she calls “dark pop ballerina music at the opera.” Her sound is a dramatic fusion of dark pop and orchestral instrumentations, offering a cinematic experience to listeners.

Lovelee’s new record, Phase 2: Power Struggle, continues her album series initiated in 2021 with Phase 1: Shadows. This whimsical, fun, and seering new LP represents a period of being in flux – “transitioning into a more confident person but still struggling to regain our power,” she explains. 

The album’s focus track, “Double Edged Sword,” grapples with one of the challenges to one’s confidence, the archetype of the masked fool. The theatrical alt-pop piece pulsates with anticipation and nimble strings as Lovelee stops falling for their tricks and reveals this individual for who they really are.

“Double Edged Sword” is about revealing someone’s true nature. There are some people who are kind and charismatic and everyone loves them and are drawn to them. But it’s all just an act; it’s just a mask that they’re wearing. If we take off their mask, we realize that they have selfish and nasty intentions behind their kind actions. – Vicki Lovelee

Shane Pendergast has folk music in his blood. Growing up in Prince Edward Island, he hails from a lineage of storytellers and musicians. He began singing and playing guitar at a young age, and performed frequently at small halls across PEI with his family. 

Shane moved to Toronto to study Documentary Filmmaking and English at York University. While there, he performed in pubs on weekends, gradually honing his craft and finding his voice as a songwriter. Drawing inspiration from the landscapes and lore of his Maritime home, Shane’s songs began to take shape, resonating with themes of community, history, and the sea. In 2020, Shane returned to PEI, where he founded the Jack Pine Folk Club – a monthly gathering inspired by the coffeehouses of the 1960s, featuring a mix of traditional music and poetry. Under Shane’s guidance, the Jack Pine stage has become a vibrant hub for folk music, attracting talent from across Canada.

Shane’s latest single, “Crossing the Bridge,” sparked its conception when he witnessed a seagull eating a starfish. It was an odd and comical sight to witness, directly contrasting with the beauty of the river. This made Shane think about all the quirks of his home – the real life rough edges that make his surroundings unique.

I walk over the bridge in my village every day, but the title “Crossing the Bridge” suggests a shift in perspective. Seeing the beauty in the rough edges, and going with the flow a little more instead of seeking perfection. – Shane Pendergast

Over the past 15 years, Graeme Cornies​​ (Kodiak Arcade, Cabin Fever Orchestra) has composed music for over 40 television series, contributing to more than 1,000 episodes. Best known for his work on acclaimed shows like Paw Patrol, Daniel Tiger’s Neighborhood, and the Total Drama franchise, his music has reached millions. Graeme has also scored documentary features for the BBC and National Geographic, contributed to Triple-A video games and, alongside his writing partners, established himself as one of the most widely heard composers in the world.

Graeme’s passion projects, Kodiak Arcade and Cabin Fever Orchestra, mark a creative departure from his traditional process. Instead of composing music to complement visuals, he now creates visuals to accompany his personal compositions, sharing them on Instagram, X, and YouTube. These projects are at the cutting edge of AI and human collaboration in generative art, while musically, they allow him to explore new palettes and expand orchestration techniques honed through his work in visual media. 

On the new single, “No Reason to Change,” Graeme took inspiration from PBS icon and sage Fred Rogers whose company produces Daniel Tiger’s Neighborhood. “No Reason to Change” is a track about feeling fully accepted. It expresses that we can be loved for who we are right now, despite the individual imperfections we often try to conceal. The song is about gradually letting others into our inner worlds, dropping our defenses in favor of mutual vulnerability, and learning to trust that this openness can make us stronger.

At first glance, “No Reason to Change” might seem like a romantic love song – about building trust, acceptance, and embracing one another as individuals, but this song could just as easily be sung to a child, or by a child to a parent, or to anyone with whom we share our lives. – Graeme Cornies

Edmonton’s The Bobby Tenderloin Universe is a band, a community and a movement, but most of all it’s an excuse to don your western wear and give yourself over to the song and dance at the heart of every BTU show. Bobby enraptures his audiences with his deep, rich voice and thoughtful, tender lyrics, rustling up a fresh new take on the old country we all love. Some say he exhibits the sincerity of Johnny Cash, the wit of Roger Millar, and vocal stylings and production sensibilities of Lee Hazlewood. He and his band are lifelong friends and it shows in the way they bring the songs to life. 

Their 2019 self-titled debut album led to tours with Orville Peck and Charley Crockett. The Bobby Tenderloin Universe is now releasing their sophomore full-length, Satan is a Woman; a self-described “woman” themed album that includes songs about Bobby’s grandmother, romantic lovers, death, loss and guilt.

The record’s focus track, “Marigold,” features a divergent non-4/4 timing and is a voyeuristic song about yearning love set in a garden. Bobby uses floral imagery to create a metaphor relating the natural beauty of marigolds with the euphoria two lovers feel when close to each other.

Searching for self growth, I wrote [Satan is a Woman] in order to experience catharsis. I hoped to achieve a deeper level of ego death by letting the songs filter through me, and catharsis by putting them back into the zeitgeist from whence they came. – Bobby Tenderloin

We Found a Lovebird excels at trance-like chiming rock. Since 2009, they’ve released three albums, one EP and eight singles with highlights including a Polaris Music Prize nomination and radio support from CBC and KEXP. Since 2020, they’ve released seven singles from their upcoming long player With Friends Like These.

Latest track, “100%,” evokes a bouncy, positive vibe with nods to 80’s rock groups like The Smiths and Prefab Sprout. “100%” came about from a finger picked melody by guitarist Kerry MacPherson, which frontman Larry Lechner realized filled out an old unfinished song he had. 

I’ve written hundreds of songs and I’m so close to all of them that it’s hard to stand back and generalize. What does seem to recur is references to other artists, the moral conundrums of everyday life and the ever present possibility of love. For instance, in this song (“100%”) the ‘poet’ I’m referring to is Leonard Cohen, who basically embodies all those things. I imagined Leonard Cohen waiting tables cuz he was so broke but he was still writing his ‘dark fables.’
– Larry Lechner

Lil’ Red & The Rooster are proud to announce the release of their new single, “Goodbye Frowns,” a lively blend of retro blues and modern energy. With its swinging jazz rhythms and playful scatting, the track celebrates emotional independence and personal joy in relationships. This upbeat anthem serves as a reminder to find your smile even during life’s challenges.

Produced by Lil’ Red and recorded at JoyRide Studio in Chicago, “Goodbye Frowns” offers a glimpse into the duo’s upcoming 2025 album, which promises more of their distinctive mix of jazzy blues. Mixed and mastered by Brian Leach, the track also features cover art designed by Lil’ Red herself.

Comprised of vocalist and drummer Jennifer Milligan (Lil’ Red) and guitarist Pascal Fouquet, Lil’ Red & The Rooster have spent over a decade perfecting their unique sound. Known for their personal lyrics, electric chemistry, and dynamic live performances, the duo’s “retro-modern blues” draws on deep blues traditions while continuing to evolve.

In “Goodbye Frowns,” Lil’ Red’s sassy vocals and light drumming blend perfectly with Pascal’s guitar, which reflects the influence of blues legends like B.B. King and Django Reinhardt. Pascal’s intricate playing on a vintage Stella acoustic adds layers of both tradition and innovation, while Chicago bassist Felton Crews ties the groove together seamlessly.

Since forming in 2010, Lil’ Red & The Rooster have honed a cross-continental sound, with roots in Pascal’s native Normandy, France, and Lil’ Red’s upbringing in the U.S. This cultural exchange gives their music a rich, multi-lingual depth that resonates with listeners around the world.

Pascal, whose guitar work has been shaped by years of performing with blues icons like Diunna Greenleaf and Mike Sanchez, brings a soulful yet playful touch to each performance. His nickname “Rooster” is a nod to both his French heritage and Willie Dixon’s classic track, embodying his lively stage presence.

Lil’ Red, born in Columbus, Ohio, discovered her love for music early, with a career that spans musical theater and rhythm and blues. After performing in shows like Hair and Jesus Christ Superstar, her journey led her to Pascal, and together, they’ve created a style that is both intimate and high-energy.

From major stages to intimate livestreams, Lil’ Red & The Rooster have shared their music with audiences worldwide. They’ve played at venues like Buddy Guy’s Legends in Chicago and headlined international blues festivals. During the pandemic, they turned to live streaming, performing mini-concerts five days a week and building a global fanbase. Their weekly Facebook “Lives” continue to draw in fans from across the globe, proving that the joy and healing power of the blues know no boundaries.