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DTSTART;TZID=America/Halifax:20260308T140000
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DTSTAMP:20260416T101026
CREATED:20260220T163019Z
LAST-MODIFIED:20260220T163120Z
UID:10004035-1772978400-1772989200@livemusichalifax.ca
SUMMARY:A Li'l Affair
DESCRIPTION:Funk Island Lab presents “A Li’l Affair”\, a show to celebrate International Women’s Day and the artists who performed at Lilith Fair. \nPerformances by ADINA\, Ali Enriquez\, Claira Blanchard\, Freya Milliken\, Kim Wempe\, LXVNDR\, Roxanne Potvin\, Yvette Lorraine\, all supported by an all-star band. \nProceeds from this event will support Funk Island Lab Music Society\, and we will be accepting donations for Adsum House during the event. \nFunk Island Lab Music Society is a non-profit music organization dedicated to fostering unique music education experiences\, with a commitment to community\, diversity\, and inclusion. We host songwriting and music production camps that connect professional songwriters\, emerging artists\, and youth across Atlantic Canada.
URL:https://livemusichalifax.ca/event/a-lil-affair-2/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/png:https://livemusichalifax.ca/wp-content/uploads/2026/01/lilaffair-sanctuary-e1769301070541.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20260307T193000
DTEND;TZID=America/Halifax:20260307T193000
DTSTAMP:20260416T101026
CREATED:20260125T002907Z
LAST-MODIFIED:20260220T163356Z
UID:10003920-1772911800-1772911800@livemusichalifax.ca
SUMMARY:A Li'l Affair
DESCRIPTION:Funk Island Lab presents “A Li’l Affair”\, a show to celebrate International Women’s Day and the artists who performed at Lilith Fair. \nPerformances by ADINA\, Ali Enriquez\, Claira Blanchard\, Freya Milliken\, Kim Wempe\, LXVNDR\, Roxanne Potvin\, Yvette Lorraine\, all supported by an all-star band. \nProceeds from this event will support Funk Island Lab Music Society\, and we will be accepting donations for Adsum House during the event. \nFunk Island Lab Music Society is a non-profit music organization dedicated to fostering unique music education experiences\, with a commitment to community\, diversity\, and inclusion. We host songwriting and music production camps that connect professional songwriters\, emerging artists\, and youth across Atlantic Canada.
URL:https://livemusichalifax.ca/event/5245/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/png:https://livemusichalifax.ca/wp-content/uploads/2026/01/lilaffair-sanctuary-e1769301070541.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251123T140000
DTEND;TZID=America/Halifax:20251123T160000
DTSTAMP:20260416T101026
CREATED:20251013T223202Z
LAST-MODIFIED:20251105T030058Z
UID:10002862-1763906400-1763913600@livemusichalifax.ca
SUMMARY:Fiddles & Feet
DESCRIPTION:We’re so thankful to all of our friends who have joined us for our musical adventures and keep showing up for our shows\, or are simply here to cheer us on and encourage us to keep playing.\n\nOn the following weekend\, we are returning to The Sanctuary Arts Centre for our second show! We had so much fun at our first show at this awesome venue. Happening Sunday November 23rd with a 2PM show. Tickets are available online now! We’re often asked to do shows close to Halifax/Dartmouth\, so here is your chance!!\n\n\nAs always\, we can’t wait to play for you!
URL:https://livemusichalifax.ca/event/fiddles-feet/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/Fiddles-Feet-e1760394564745.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251011T190000
DTEND;TZID=America/Halifax:20251011T220000
DTSTAMP:20260416T101026
CREATED:20251008T024121Z
LAST-MODIFIED:20251008T045407Z
UID:10002778-1760209200-1760220000@livemusichalifax.ca
SUMMARY:Dark for Dark
DESCRIPTION:Dark For Dark sings immaculate three part vocal arrangements\, thick with harmony and interplay\, over Rebecca Zolkower’s original songs. Their new album\, All Dressed\, was produced by composer / musician Jay Crocker in Crousetown\, NS and expands on the folk and country influences of their previous work to include sounds drawn from early Beatles and 60s girl groups. \nTickets: prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/dark-for-dark/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/dark-for-dark-e1759891249367.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251011T190000
DTEND;TZID=America/Halifax:20251011T220000
DTSTAMP:20260416T101026
CREATED:20251008T023347Z
LAST-MODIFIED:20251008T045313Z
UID:10002777-1760209200-1760220000@livemusichalifax.ca
SUMMARY:Nadah El Shazly
DESCRIPTION:Born and raised in Cairo\, El Shazly began her musical journey as a member of Sick Gdrch\, a Misfits cover band\, before venturing into electronic production and composition. Her debut album\, 2017’s ‘Ahwar’\, earned global praise for its merging of heritage and innovation\, and established Nadah as a leading figure in the contemporary music landscape. She appeared on the cover of The Wire in 2018 in an issue announcing “Cairo’s New Wave.” \nEl Shazly’s live performances are equally immersive\, combining her enthralling voice with intricate sound manipulation and dynamic collaborations with other musicians. She has worked with a host of innovators including Sam Shalabi\, Elvin Brandhi\, Maurice Louca\, and many more. She’s graced stages at prestigious venues and festivals worldwide\, including Irtijal\, Le Guess Who?\, Rewire\, Best Kept Secret\, FIMAV\, Roskilde\, Copenhagen Jazz Festival\, Nusasonic\, and Marfa Myths. Beyond her solo work\, Nadah is an active contributor to Cairo’s independent music scene\, supporting emerging artists and engaging in cross-disciplinary projects. \nNadah is also known for her soundtrack work. In 2022 she scored the film Les Damnés ne pleurent pas (The Damned Don’t Cry)\, that follows Fatima-Zahra and her teenage son Selim who move from place to place\, forever trying to outrun the latest scandal she’s caught up in. El Shazly won the Best Original Music award at the Bordeaux International Independent Film Festival and at the Dublin International Film Festival. In the last year she’s also scored Last Party in R. Desert! by Mahmoud Sabbagh\, and To a Land Unknown by Mahdi Fleifel. \nIn 2024\, she released the experimental noise album ‘Pollution Opera’ with Welsh producer Elvin Brandhi. Facing hell in full defiance\, their nine-track album covers the spectrum of electroacoustic fragments and vocalization\, suspended between the roar of engines\, evocative intonations and guttural retching. \nWithin ‘Laini Tani’\, El Shazly’s immense\, captivating voice weaves through impeccably crafted synth-work and a propulsive rhythmic foundation co-produced with 3Phaz\, with Patrick Graham’s rattling percussion alongside. Layers of kinetic bass and scorching electronics intertwine like the labyrinthine backstreets of a city. Sarah Pagé’s harp adds a textural\, dreamlike quality to El Shazly’s deftly constructed arrangement\, an edifice of bold and physical design that’s also surreal and otherworldly. A mosaic of unconventional instrumentation interacts throughout\, with Nadah at its centre as the architect and cynosure. Her commanding performance and vocal stylings act as a guide through this intricate ecosystem. \nTickets: prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/nadah-el-shazly/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/nadah-el-shazly-e1759890719174.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251011T190000
DTEND;TZID=America/Halifax:20251011T220000
DTSTAMP:20260416T101026
CREATED:20251008T022750Z
LAST-MODIFIED:20251008T045239Z
UID:10002776-1760209200-1760220000@livemusichalifax.ca
SUMMARY:Hayden Pedigo
DESCRIPTION:Hayden Pedigo (born March 26\, 1994) is an American avant-garde musician\, politician\, performance artist\, and model. Much of his work has been informed and inspired by his upbringing and residence in the Panhandle of Texas. \nLife and music \nHayden Pedigo was raised in the West Texas city of Amarillo. It was his upbringing in—and embrace of—his home in the rural Texas Panhandle region that would eventually draw him national attention. At age 12\, Pedigo decided he wanted to learn guitar\, and his parents paid for lessons. Pedigo grew obsessed with the instrument\, carefully studying to play like Stevie Ray Vaughan and Ry Cooder. As his skills grew\, his influences would expand to include John Fahey\, Robbie Basho\, Daniel Bachman\, and Mark Fosson—guitarists of the American Primitive Guitarstyle. \nSoon\, the young Pedigo had moved on to studying European experimental rock acts such as Soft Machine and King Crimson\, and jazz artists like Miles Davis and Pharoah Sanders. \nIn 2012\, Pedigo sent a video of himself playing guitar in an abandoned elementary school to the Austin label Maramara Records The ensuing partnership would result in Pedigo’s first album\, Seven Years Late\,  released in 2013. \nFor his second album\, Five Steps\, Pedigo used internet channels to approach various musical heroes for collaboration—including the German guitarist Steffen Basho-Junghaus and the English guitarist Nick Jonah Davis\, as well as art rock influences like Charles Hayward (a founding member of This Heat) and Faust drummer Zappi Diermaier. Five Steps was released by the Seattle label Debacle Records[4] in November 2014. In a feature article that same year\, Texas Monthly said of the album: “Only twenty years old\, [Pedigo] had revealed through sound the world he had grown up in and the sense of wonder he felt at being alive.”[5] Vogue magazine wrote of Five Steps: “Pedigo mixes his own unique playing style with disconcerting ambient tracks\, creating a sound that comes off as entirely original.” \nIn 2015\, Pedigo curated a solo guitar compilation\, Imaginational Anthem Vol.7 for Tompkins Square Records. For the project\, Pedigo solicited contributions from several friends and influences\, including Kyle Fosburgh\, Mariano Rodriguez\, and Sean Proper. \nIn 2018\, the 23-year-old guitarist released Greetings From Amarillo under the Los Angeles-based Driftless Recordings. The album\, said Pedigo\, was “a tribute to the landscape of Amarillo\, Texas\, and the different spaces I’ve discovered here.” At the time\, National Public Radio’s All Songs Considered said of the album’s title track: “’Greetings From Amarillo’ blooms like a field of Texas bluebonnets swaying on the side of the highway. Over four minutes\, the delicate and lilting melody dips in and out of major and minor keys\, swirling sand into a dancing dust devil.” \nA year later Pedigo released an LP\, Valley of the Sun\, also from Driftless Recordings. The album release coincided with Pedigo’s (ultimately fruitless) run for a seat on the Amarillo City Council. \nIn the spring of 2021\, Hayden Pedigo announced that he had signed a three-album contract with the Brooklyn-based independent record label Mexican Summer\, which T: The New York Times Style Magazine has described as “a bastion for experimental pop\, not to mention a model for successful music publishing in the 21st century”. \nOn November 2\, 2021\, Pedigo made his runway debut in Gucci’s 100th anniversary fashion show\, “Love Parade.” He modelled their Spring-Summer 2022 collection alongside fellow musicians St. Vincent\, Phoebe Bridgers\, and Steve Lacy. \nPedigo married his girlfriend L’Hannah in 2015. They currently reside in Oklahoma City. \nPedigo released his fifth studio album\, I’ll Be Waving as You Drive Away\, on June 6\, 2025\, via Mexican Summer. \nCity Council run \nIn the fall of 2018\, at the age of 24\, Hayden Pedigo drew national attention when he mounted a campaign to fill a city council seat in his hometown of Amarillo. In a profile on the young candidate\, Rolling Stone noted: “If [the surrealist film director] David Lynch were in charge of a political campaign\, it might look something like Pedigo’s.” \nPedigo’s campaign began to gain steam when he launched his first campaign ad\, an absurdist lo-fi video featuring the young candidate\, dressed in a suit he’d purchased from Goodwill\, hurling a metal folding chair around a public park. In the video\, Pedigo propped his foot on the chair and declared\, “I believe that a lot of local business owners are straight up getting bonked.”  The video—and subsequent videos produced by the Pedigo campaign—drew thousands of views on social media\, garnering attention from local news affiliates\, and eventually from national media. \nAt first\, the Pedigo campaign was seen by many locals as simply a prank. But\, as the campaign wore on\, it became clear that Pedigo was intent on winning. A documentary film crew\, helmed by the documentarian Jasmine Stodel\, arrived from Los Angeles to film the campaign—and the surrounding commotion. \nIn the meantime\, Pedigo grew more serious about attaining victory in the race\, researching policy and speaking with former city officials. Pedigo soon drew the attention of the Amarillo pro-development PAC “Amarillo Matters\,” which\, according to Rolling Stone\, has been known to employ questionable tactics like sending out mailers with factually incorrect claims about candidates they oppose (a group which included Pedigo). As the campaign rolled on\, Pedigo began to use his amplified voice to draw attention to what he saw as rampant cronyism and inequality in Amarillo. \nUltimately\, Pedigo finished a distant second in the race behind incumbent Elaine Hayes. But the campaign was not an out-and-out failure\, as Texas Monthly noted: “Just by running—and by doing it for the camera—[Pedigo] exposed Amarillo’s hidden-in-plain-sight corporatocracy.” \nKid Candidate\, director Jasmine Stodel’s documentary on Pedigo’s city-council campaign\, was released in 2021. The film\, produced by Gunpowder & Sky\, premiered as part of the virtual South by Southwest film festival. \nTickets: prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/dhaytden-pedigo/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/hayden-pedigo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251010T190000
DTEND;TZID=America/Halifax:20251010T220000
DTSTAMP:20260416T101026
CREATED:20251008T014406Z
LAST-MODIFIED:20251008T044603Z
UID:10002771-1760122800-1760133600@livemusichalifax.ca
SUMMARY:Rumé Kover
DESCRIPTION:Tickets: prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/rume-kover/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/rume-kover-e1759887832677.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251010T190000
DTEND;TZID=America/Halifax:20251010T220000
DTSTAMP:20260416T101026
CREATED:20251008T014034Z
LAST-MODIFIED:20251008T044541Z
UID:10002770-1760122800-1760133600@livemusichalifax.ca
SUMMARY:David Grubbs
DESCRIPTION:David Grubbs (born September 21\, 1967) is an American composer\, guitarist\, pianist\, and vocalist. He was a founding member of Squirrel Bait\, Bastro\, and Gastr del Sol. He has also played in Codeine\, The Red Krayola\, Bitch Magnet and The Wingdale Community Singers. \n\nMusic career \n\nGrubbs’ first band was a brief-lived punk/new wave group called The Happy Cadavers that released the four-song 7″ record With Illustrations in 1982. Grubbs then formed a hardcore punk band called Squirrelbait Youth that later evolved into the influential Louisville\, Kentucky group Squirrel Bait\, releasing a 12″ EP and an album on Homestead Records. Grubbs’s next group was the post-punkpower trio Bastro\, which released an EP and two albums on Homestead.[1] In 1991 Bastro morphed into the more avant-garde Gastr del Sol.[1] This project soon became essentially a partnership between Grubbs and Jim O’Rourke after the band’s first album.[1] The albums released by the duo include Crookt\, Crackt\, or Fly\, Upgrade & Afterlife\, and Camoufleur. In this period\, Grubbs also contributed to other projects\, including guitar for two tracks on Codeine’s 1994 album The White Birch[2] and guitar\, piano\, and harmonium on recordings by Palace Music\, Will Oldham\, Royal Trux\, Dirty Three\, Matmos\, Richard Buckner\, Tony Conrad\, Pauline Oliveros\, Arnold Dreyblatt\, and many others. \nSince the breakup of Gastr del Sol in 1997\, Grubbs has released numerous solo and collaborative records\, mostly on the Drag City label\, for which he co-directed the Dexter’s Cigar sub-label.[3] In 2000\, his album The Spectrum Between was named “Album of the Year” in the Sunday Times. \nHis 2017 album Creep Mission was described by The Quietus as “a typically playful and intellectually ambitious set – and is as good an entry into the world of Grubbs as any.”[4] \nIn 2018\, Grubbs released Failed Celestial Creatures\, a collaboration with Japanese guitarist and electronic musician Taku Unami. According to Pitchfork\, the album “feels of a piece with Grubbs’ last two records under his own name\, Creep Mission and Prismrose\, both nominal solo releases that each features a handful of guests. On all three albums\, Grubbs uses the presence of collaborators to play with drones\, repetition\, and improvisatory interplay\, taking his style to a more intuitive place.”[5] \nHe operates his own label\, Blue Chopsticks\, which has released new and archival recordings from Luc Ferrari\, Derek Bailey and Noël Akchoté\, Workshop\, Van Oehlen\, and Mats Gustafsson. Grubbs is also known for his collaborations with writers Susan Howe\, Rick Moody\, and Kenneth Goldsmith\, and with visual artists including Anthony McCall\, Angela Bulloch\, Stephen Prina\, and Cosima von Bonin. He has composed the soundtracks for Angela Bulloch’s installations Z Point\, Horizontal Technicolour\, and Hybrid Song Box.4\, and his music appears in two installations by Doug Aitken. Grubbs’s sound installation “Between a Raven and a Writing Desk” was included in the 1999 group exhibition Elysian Fields at the Centre Pompidou. \nGrubbs’s soundtrack work includes music with Matmos for Thierry Jousse’s feature film Invisible (Les Invisibles). Grubbs has also contributed music to the Red Krayola’s soundtrack to Norman and Bruce Yonemoto’s film Japan in Paris in LA and to three films by Augusto Contento(Parallax Sounds\, Strade Trasparenti\, and Onibus)\, to Braden King and Laura Moya’s film Dutch Harbor: Where the Sea Breaks its Back\, and to John Boskovich’s film North. Music by Gastr del Sol appears in the PBS television series The United States of Poetry\, Hal Hartley’s film The Book of Life\, and Doug Aitken’s film The Diamond Sea. Grubbs composed the score for Karl Bruckmaier’s radio adaptation of Peter Weiss’s Die Ästhetik des Widerstands (Hessischer Rundfunk Hörbuch des Jahres 2007) and contributed music to Bruckmaier’s adaptation of Alexander Kluge’s Chronik der Gefühle (Deutscher Hörbuchpreis 2010\, “Best Fiction”). \nFrom 1997 to 1999\, Grubbs was a part-time instructor in the Liberal Arts and Sound departments at the School of the Art Institute of Chicago. He is currently Professor of Music in the Conservatory of Music at Brooklyn College\, CUNY.[6] He teaches in Brooklyn College’s MFA program in Performance and Interactive Media Arts (PIMA) and Brooklyn College’s MFA program in Creative Writing\, and is a member of the faculty of the Brooklyn College Center for Computer Music (BC-CCM). \nHe is one of five musicians (with Steve Albini\, Ken Vandermark\, Damon Locks\, and Ian Williams) profiled in Augusto Contento’s 2012 documentary film Parallax Sounds. \n\nAcademic career \n\nGrubbs received a B.A. degree from Georgetown University\, an A.M. degree from the University of Chicago in 1991\, and a Ph.D. degree in English\, also from Chicago\, in 2005.[7][8] \nGrubbs is Distinguished Professor of Music at Brooklyn College and the Graduate Center\, CUNY\, specialised in sound art and experimental music\, and teaching in performance arts\, interactive art and creative writing.[8] His criticism has appeared in Texte zur Kunst\, Chicago Review\, TDR\, Conjunctions\, Bookforum\, and Purple\, and from 1999-2007 he regularly contributed music criticism to the Munich newspaper Süddeutsche Zeitung. Grubbs received a 2005–2006 Foundation for Contemporary Arts Grants to Artists Award. \nGrubbs is the author of four books for Duke University Press: Records Ruin the Landscape: John Cage\, the Sixties\, and Sound Recording(2014)\, Now that the audience is assembled (2018)\, The Voice in the Headphones (2020)\, and Good night the pleasure was ours (2022). Now that the audience is assembled was described by The Washington Post as “a new book-length poem [that] reminds us that listening can feel stranger than dreaming.”[9] Records Ruin the Landscape has appeared in French\, Italian\, and Japanese translations. Grubbs is also the co-author of the collaborative artists’ books Simultaneous Soloists (with Anthony McCall\, Pioneer Works Press\, 2019) and Projectile (with Reto Geiser and John Sparagana\, Drag City\, 2021). \n\nPersonal life \n\nGrubbs lives in Brooklyn with his wife\, Cathy Bowman\, and their son Emmett Bowman-Grubbs. \nTickets: prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/david-grubbs/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/david-grubbs.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251010T190000
DTEND;TZID=America/Halifax:20251010T220000
DTSTAMP:20260416T101026
CREATED:20251008T013435Z
LAST-MODIFIED:20251008T044513Z
UID:10002769-1760122800-1760133600@livemusichalifax.ca
SUMMARY:Jeff Parker
DESCRIPTION:Jeff Parker (born April 4\, 1967) is an American guitarist and composer based in Los Angeles. Born in Connecticut and raised in Hampton\, Virginia\, Parker is best known as an experimental musician\, working with jazz\, electronic\, rock\, and improvisational groups. Parker studied at Berklee College of Music and then moved to Chicago in 1991. \nAlso a multi-instrumentalist\, Parker has been a member of the post-rock group Tortoise since 1996\, and was a founding member of Isotope 217 and the Chicago Underground Trio in the 1990s and early 2000s. He is a member of the Association for the Advancement of Creative Musicians (AACM) and has worked with George Lewis\, Ernest Dawkins\, Brian Blade\, Joshua Redman\, Fred Anderson\, Meshell Ndegeocello\, Joey DeFrancesco\, Smog (aka Bill Callahan)\, Carmen Lundy and Jason Moran. A prolific sideman\, he has also released seven albums as a solo artist: Like-Coping\, The Relatives\, Bright Light in Winter\, The New Breed\, Slight Freedom\, Suite for Max Brown\, and Forfolks. \nTickets: prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/jeff-parker/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/jeff-parker-e1759887309478.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251009T190000
DTEND;TZID=America/Halifax:20251009T220000
DTSTAMP:20260416T101026
CREATED:20251008T010036Z
LAST-MODIFIED:20251008T043952Z
UID:10002765-1760036400-1760047200@livemusichalifax.ca
SUMMARY:Charlotte Cornfield
DESCRIPTION:  \n\n\n\n\n\n\n\n\n\n\nIt’s been less than two years since Highs in the Minuses became Charlotte Cornfield’s break-out—a magnetic mission-statement for the Toronto songwriter described by Rolling Stone as “Canada’s best-kept secret.” Cornfield emerged from pandemic seclusion with new fans\, raised expectations\, and her first major US tour. She could have kept touring forever; she could have fled to the woods with a four-track. She could have done anything. What she did was jump into an old Subaru\, driving seven hours south to the Hudson Valley. The car didn’t have any A/C; she had only recently earned her license; and she had never met the producer she was driving down to meet. But when Cornfield arrived in Hurley\, NY\, at the red-steepled church that is now Dreamland Recording Studios\, she was ready for whatever came next. “There was this letting go of some of the strongheaded-ness that I think I used to have\,” she says\, “and an embracing of the open-endedness of life.” \nCornfield had come to Hurley to work with producer Josh Kaufman\, thrilled by his sublime recordings with Cassandra Jenkins\, Anais Mitchell and his own band\, Bonny Light Horseman. The album they’d now make together\, Could Have Done Anything\, is a testament to Cornfield’s uncommon life and all its possibilities\, an acknowledgment that the best musicians can turn fleeting moments into timeless songs. Over nine magnetic tracks\, the singer-songwriter begins yet another chapter: gazing in the rear-view to understand where she’s been; squinting through the sunset to see what’s ahead. Calmer than I was\, she sings in the album’s final moments. Stronger than I was / older than I was / less angry than I was…—and finally—happier than I was / happier than I was / happier than I was… \nWhereas Cornfield’s preceding albums were made in familiar settings\, with troupes of friends\, her latest long-player reaches into the unknown. Kaufman and Cornfield (who went to school for jazz drums) played every instrument themselves\, from ringing guitars to cozy piano\, Hammond B3\, pedal steel and synthesizers. Together with engineer D. James Goodwin (Kevin Morby\, Whitney) and assistant engineer Gillian Pelkonen\, the pair worked swiftly\, impulsively\, trying to shrink the gap between having an idea and putting it on tape. The resulting sound is at once elaborate and unrehearsed; there’s a sense that it’s coming together—and coming alive—at the very moment it’s being made. \n“The hours flew by\,” Cornfield says. “We lived inside of the songs there\, for a few days.” You can hear it on a tune like “Cut and Dry\,” where a radiant\, easygoing groove forms the landscape of a song about seeing people as a whole\, together with their mistakes. There’s a similar throughline to “In From The Rain\,” where rambling 70s licks and Cornfield’s tambourine flutter trace the evolution of a friendship\, from intimacy to disappointment to acceptance. On the latter\, listen at the end of the first minute\, after Cornfield sings a lyric about rainstorms and visitors: Suddenly you were there\, goes the line—as a real-life thunderclap unfurls\, like an angel’s drumroll. “All the mics picked it up\,” she recalls. “So we left it in.” \n“Gentle Like the Drugs” draws on imagery from a spring tour in the American west. “I was experiencing joy on the road in a way I really hadn’t before\,” Cornfield says\, and you can hear it in the patient pleasure of these chords\, or the way she narrates her first impressions of Arizona: I watch the colours get real / the pink and the teal / I see a dust devil / I see an elevator. Like riding across the desert with your friends; like smoking a joint at the end of a long day; but the song’s alternating verses orient themselves towards another sensation\, too: that feeling of being home\, and happy\, when your lover’s not around. Not because they’re gone\, but because you know they will return. \nIntimacy and absence go hand-in-hand on Could Have Done Anything: the theme repeats on the unfussy love-song “You and Me\,” with its tale of tour and homecoming. You’re sunkissed in your Subaru / Picking me up at Terminal 3\, she sings—and\, later\, two bikes on a pavement path / ice cream cones and epitaphs. Some love is as simple as this: liberating\, easy\, like piano and guitar in two-step. “I’ve been trying to write a song like this for a long time\,” Cornfield says. “A catchy love-song\, with cars. Where it feels like the narrator could go anywhere and do anything.” \nThat was the spirit of this record: connection\, possibility\, acceptance. “Don’t be afraid to take a left\,” Kaufman would say\, encouraging Cornfield to drop preconceptions\, invent new rules. Even with the small things\, like wandering around the tracking room with a pair of claves in your hands\, or adding random\, surround-sound echoes to “The Magnetic Fields”—a song about a potent and formative live concert experience. Throughout\, Cornfield tried to channel the energy of her favorite classic records\, from Tapestry to Blood On The Tracks to Car Wheels On A Gravel Road—albums where the listener is simply carried by the songs and the playing. \nAfter six days\, Cornfield went back to Canada\, with a new album to mix and master. Another day-long drive; another homecoming; and one more thing\, too\, which would arise a little over nine months later: the singer’s first baby’s due April 2023. Anything can happen. \n\n\n\n\n\n\n\n\n\n\nTickets prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/charlotte-cornfield/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/charlotte-cornfield-e1759885210795.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251009T190000
DTEND;TZID=America/Halifax:20251009T220000
DTSTAMP:20260416T101026
CREATED:20251008T005207Z
LAST-MODIFIED:20251008T044133Z
UID:10002764-1760036400-1760047200@livemusichalifax.ca
SUMMARY:The Weather Station
DESCRIPTION:The Weather Station — the project of Toronto based songwriter Tamara Lindeman — returns with new album Humanhood on January 17th via Fat Possum Records.  The last few years have seen The Weather Station release two albums: the career defining Ignorance (2021) and its ethereal\, mostly live recording companion piece\, How Is It That I Should Look At The Stars (2022). In that time\, The Weather Station have gone on to headline tours across North America and Europe\, play major festivals\, and perform on the televised Austin City Limits as well as Jimmy Kimmel Live. Ignorance was named Best New Music (Pitchfork)\, and landed in year-end Top 10 lists from The New Yorker (#1)\, Spin\, New York Times\, Uncut\, Pitchfork\, The Guardian\, and many others.  Called “a heartbroken masterpiece” in The Guardian\, the record was a complex evocation of climate grief that struck a chord worldwide. \nAs a writer\, Lindeman is known for her detail. “Her writing can feel … like the collected epiphanies from a lifetime of observing” (Pitchfork).  Over the course of six albums\, her music has moved from home recorded\, mostly acoustic folk to the “ornate act of world building” (New Yorker) that was Ignorance.  The throughline\, though\, is a focus on ideas; her lyrics walk the line between the personal and the conceptual\, forever tying small moments to larger metaphysical quandaries.  Nominated for three Juno Awards\, a Socan Songwriting Award\, and shortlisted for the Polaris Prize\, her albums have made a mark both critically and conceptually. \nTickets prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/the-weather-station/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/the-weather-station-e1759884512942.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20251009T070000
DTEND;TZID=America/Halifax:20251009T220000
DTSTAMP:20260416T101026
CREATED:20251008T011743Z
LAST-MODIFIED:20251008T043821Z
UID:10002766-1759993200-1760047200@livemusichalifax.ca
SUMMARY:Jennah Barry
DESCRIPTION:Hailing from the coastal haven of Mahone Bay\, Nova Scotia\, Jennah Barry is one of Atlantic Canada’s surest sirens. Her undeniable\, rosewater voice sets a mood wherein even the hardest truths seem palatable. Moving effortlessly between folk\, country and soft rock motifs\, Barry’s music sets her at the forefront of a tradition of women making music as strong as it is sentimental. \nTickets prices vary from $0 to $40
URL:https://livemusichalifax.ca/event/jennah-barry/
LOCATION:The Sanctuary Arts Centre\, 100 Octherloney St
ATTACH;FMTTYPE=image/jpeg:https://livemusichalifax.ca/wp-content/uploads/2025/10/jennah-barry.jpeg
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