Ever since our trip to Africa I have been writing songs…lots of songs. Four of them have made it into our regular sets and two more are on deck for their debut in the coming weeks. Last week someone introduced me as a Songwriter to someone else and I said “Well, I’ve written a few songs but…” Yikes, I feel like there is a weighty responsibility associated with the title of Songwriter. Songwriters are supposed to be insightful, worldly, confident in the message their words and music convey. Aren’t they? Also, Songwriters should know the mechanics of writing songs and be able to discuss the process. Shouldn’t they? I dread being asked how I write my songs. My usual response of “Um, I get an idea in my head and um, well, um, then I put some words and chords together and um, there you have it.” probably needs some work.

Merriam-Webster Online Dictionary defines Songwriter as “a person who composes words or music or both especially for popular songs”. Hmmm, I do compose words and music, now my songs just have to become “popular” then I think I will call myself a Songwriter!

Yesterday I went to pick up the mail and there was THE letter from the TTC (Toronto Transit Commission) Subway Musicians Program. THE letter that we had been waiting for, with nervous anticipation, since our audition almost a month ago. Nervous anticipation, because from year to year it’s a bit of a rollercoaster ride. I debated (briefly) about waiting to open it til Dwight was home but decided I just had to know. The news was good…no, the news was GREAT! Our license number is 7…that means out of the 75 people issued licenses (around 170 auditioned) we got the 7th highest score. This year we auditioned with original material instead of familiar covers so that is even cooler that we scored so well!

We first auditioned for the TTC SMP in 2005. We were thrilled when we were issued license #30. Last year (2006) after a year of playing underground with lots of positive response from subway riders, we auditioned again. Ouch…that year we didn’t make the top 75. While one of the three judges had scored us high, the other two didn’t. One in fact didn’t like anything about us. Dwight took it in stride but I was devastated. Thankfully though, a new Auxiliary License program was being tested and because we were in good standing from the previous year we could continue playing. The main difference between an Auxiliary License and a regular one is that regular licensees are formally scheduled at the 25 eligible stations on a rotating basis throughout the year. Auxiliary licensees can play at any eligible station IF a regular licensee is not playing at the time, and they can be bumped if one comes along and wants to play. We were pretty lucky…we didn’t get bumped too often by non-scheduled musicians. I think many realize they could easily find themselves in the same situation in any given year so are respectful of that. Unfortunately a few of the ones who did bump us weren’t exactly diplomatic, which was disappointing. Throughout the year we heard stories about some really great musicians who were in the top 75 one year and out the next. Before the Auxiliary Program, that meant a whole year of lost revenue for them. Although many of the subway musicians have “regular” day jobs, others rely on it as a major source of income.

That brings me to an interesting observation I’ve made since we became part of the TTC SMP. It surprises me that some people perceive playing music in the subway as a form of panhandling, rather than seeing it as a performance in an established music venue (over 25 years!) with a formal, well structured program. Some acquaintances assumed we had fallen on hard times when they heard about it. And during the past two years there have been occasions where people we know, nod to us sheepishly and rush past appearing to not want to be seen consorting with the rabble. Tossing a coin to a musician is just one way for people to show appreciation of the music they are hearing. A smile or a thumbs-up is an equally important show of support. As a musician, there isn’t a better way (no pun intended) to reach people from all walks of life. With over a million commuters in the system everyday the opportunity to have your music heard is second to none. And, it is so satisfying when someone stops to buy a CD, because you know something they have heard has touched them enough to want to take our music home with them.

The new TTC SMP year with our new license begins in October. Until then we will continue to seek out available spots to play. I plan to start blogging about our experiences down under so stay tuned!

Ever had so much to write about that you end up not writing anything at all? That’s what happened with us over the past few months. But that is going to change in September so check back often!

Yesterday we played at our first official festival…City Roots at The Distillery District!  I wanted to write about it in our Blog because it seems when I don’t have either pictures or a written record of an event, it fades from my memory way too quickly. 

I’m not usually overly nervous when we perform but yesterday I felt some extra butterflies from the time I got up in the morning. The anticipation of being on stage, at the same time, with three well known artists…Brian Gladstone, Danny Marks, and Lynne Hanson…was both exciting and a bit intimidating. Also, I started playing the guitar just over two years ago and this was my first time playing in public without my music stand (a.k.a. “the crutch”) for more than a song or two. Yikes, what a day to try that…when sitting a few seats away from two of Toronto’s brilliant guitarists!

We performed ‘in the round’. I think that’s what they call it. All of us were on the stage together and took turns doing our tunes. Andy Frank from CIUT 89.5 FM  introduced the group and when he mentioned that we were originally from Winnipeg, I noticed a few faces light up in the audience! It’s always nice to have some hometown folks in the crowd. And it was wonderful to see those familiar Toronto faces who came out to show their support.  

Dwight and I started off the set with one of our new songs called ‘Lucky Me’. Although the song was inspired by our trip to Africa, I think it had double meaning for us yesterday as we felt very lucky to be part of such a prestigious festival. We watched in awe as each of the other performers took their turns. Brian Gladstone mesmerized the audience with his unique finger-picking style and songs that reflect humour and social conscience. Danny Marks created a warm relaxed vibe with his engaging sense of humour and rich guitar sound that sends chills up your spine! And Lynne Hanson’s bluesy-roots songs got the audience’s feet tapping while she held the rhythm on a cool instrument that I think is called a porchboard bass.

The set ran for almost 90 minutes. There was music at other stages on the site so it’s to be expected that folks may want to roam around to see as many as possible. However, we were surprised at the large number of people who stayed from beginning to end.

After our set, we were invited along with all the other festival performers to join in the Festival Finale and sing some backup on songs from the days of the Riverboat Coffee House of the 1960’s. We were kind of surprised at how few performers jumped at the chance to go on stage and next thing we knew we were singing lead on ‘One Tin Soldier’ accompanied by some of the best musicians around…Anne Lindsay on violin, Kirsten Jones and Jason Fowler on guitar, James Gordon and Sons on harmonica, accordian, and mandolin. It was completely spontaneous, unrehearsed…good thing there wasn’t time to think it through as I may have come up with a bunch of reasons for not doing it. And then I would have missed out on the fun of it. Note to myself…don’t be such a tight ass!

It was a great day for us..invigorating, humbling, inspiring, challenging, and gratifying, all at the same time!

If you want to see more of the artists I mentioned above, check out their websites:
Brian Gladstone www.backtothedirt.com
Danny Marks www.dannym.com
Lynne Hanson www.lynnehanson.com

After nine months on the inside, of course they don’t want to spend their time sleeping. They’ve got lots to catch up on after a seemingly interminable time spent in solitary confinement. Finally freed from their incarceration, they just want to party…all night. Unfortunately their stressed out parents would rather sleep.  Well, that’s where we come in. Based on non-scientific evidence involving an admittedly small sample of three babies, a recent study has concluded that our CD, ‘Darlings Of The Open Stage’ induces calm and sleep.  

Hmmm…at first, I wasn’t sure how to take this news. But then as I thought about it more, I decided it was actually a good thing. When you Google “music to soothe infants”, you get over 300,000 hits. There’s a whole untapped market of tired parents out there!  All music has some cause and effect…Classical purportedly helps you study better, Rock is a great exercise motivator, ‘I Will Survive’ gets you through a bad break-up. Now, ‘Darlings Of The Open Stage’ helps babies sleep! And we shouldn’t overlook the added benefit of the historical knowledge they’ll absorb, subliminally, from ‘Anson Northrup’ and ‘Red River’ or the social conscience from ‘So Beautiful’.  ‘Darlings Of The Open Stage’ a safe, natural sleep aid!  

Quotation By William Congreve, in The Mourning Bride, 1697