Latest news with #Oji-Cree
CBC
17 hours ago
- Politics
- CBC
Matawa Education appeals to Ottawa to fund program to revitalize Indigenous languages across northern Ontario
Social Sharing Two officials at Matawa Education and Care Centre in Thunder Bay are calling for stable funding to help them keep Ojibway, Oji-Cree and Cree languages alive across northern Ontario. The call comes even as the centre welcomes a $500,000 grant in support of its Matawa Waka Tere program. Over the last several years, the centre has been teaching Ojibway, Oji-Cree and Cree programs across nine Matawa First Nations. Emily Shandruk, special projects officer at the centre, said that with federal funding ending, the programs faced imminent closure. She said the $500,000 grant from the Rideau Hall Foundation's Indigenous Teacher Education Initiative is a lifeline, but more money is needed. "While this is a meaningful step, it doesn't mean … full program delivery," Shandruk said on Superior Morning. "So we are still actively seeking sustainable, long-term, core funding to bring language classes back to our communities and support this ongoing community-based instruction." The Rideau Hall Foundation's funds will be disbursed over two years. The foundation said the Matawa Waka Tere program and 11 other projects were selected for their community-led design, strong educational partnerships and direct commitment to increasing the number of Indigenous educators. "All 12 recipients are creating or expanding teacher education programs that are anchored in Indigenous languages, knowledge systems and cultural values — while also removing systemic barriers to access and retention," the foundation said on its website. According to Shandruk, the languages program, which is 100 per cent Indigenous-led, was created by Matawa for Matawa. It also has the support and approval of all nine Matawa chiefs. We'll continue to hold the federal government accountable. - Emily Shandruk, special projects officer, Matawa Education Shandruk said the organization continues to appeal to Ottawa for funding, noting that languages fall under the purview of the federal government. "A promise was made through the Indigenous Languages Act … it's a government responsibility to provide adequate and sustainable funding to reclaim, revitalize and preserve Indigenous languages," she said. "The Indigenous Languages Act was created with the understanding that Indigenous communities are the ones best equipped to lead their own revitalization efforts. "So while we wait to learn about maybe future federal government support … we are still looking for other private grant foundation opportunities … but we'll continue to hold the federal government accountable," added Shandruk. A spokesperson for Steven Guilbeault, minister of Canadian identity and culture and minister responsible for official languages, told CBC Thunder Bay that the government "remains committed to advancing this important work" as part of a greater path of reconciliation. "We, alongside our Indigenous partners, will revitalize and strengthen Indigenous languages by supporting community-driven projects that restore, protect and promote this important part of First Nations, Inuit and Métis cultures and histories," Hermine Landry wrote in an email. The Department of Canadian Heritage said it worked with Indigenous partners in 2023-24 to provide greater Indigenous control over funding and long-term agreements, to be more responsive to the unique needs of First Nations, Inuit and Métis, who are best positioned to reclaim, revitalize, maintain and strengthen their languages. The Canadian government has provided investments of over $1 billion from 2019-2020 to 2028-2029, and $162.3 million in ongoing funding to help Indigenous communities and organizations with language revitalization projects under the Indigenous Languages Act, the department said in a statement to CBC News. 'We need lasting investments' Georgette O'Nabigon, Matawa's education executive director, said they will take their appeal for funding to the Indigenous Language Summit in Ottawa set for Aug. 11 to 14. "We're hoping to network, explore new funding opportunities and, most importantly, ensure that real action follows, O'Nabigon said. "It's not enough to just talk about revitalizing languages — we need lasting investments and policy changes that support Indigenous-led models like ours." O'Nabigon said the Matawa Waka Tere program received a one-time federal grant about four years ago, and that funding made it possible to deliver language classes reaching both youth and adult learners. The federal funding ended on March 31, something O'Nabigon said reduced the centre's ability to offer language instruction. "The risk here is not just financial — it's cultural. The loss of funding directly affects our ability to continue this essential work of reclaiming and teaching our languages."
Winnipeg Free Press
23-07-2025
- General
- Winnipeg Free Press
‘Helping neighbours'
North End One non-profit is aiming to help mitigate furniture poverty through community connection, understanding, and a lot of elbow sweat. The North End-based Oyate Tipi Cumini Yape — which is Oji-Cree for 'where the community meets sharing and recycling' — furniture bank was founded in 2004, but has made remarkable growth since 2022. In recent years, the non-profit has more than doubled its staff, developed several volunteering and internship programs with post-secondary schools such as MITT and the University of Manitoba, and has grown to what's now 49 local referral partners, which connect them to those in need of furniture. 'It's a closed-door issue,' said Greg Georgeson, executive director, of furniture poverty. 'People don't really know it's happening … how many families are struggling.' Imagine a teenager, for example, Georgeson said, housed but without a bed, furniture, utensils to cook or clean with, or any of the objects needed to make a house, a home. 'It hits all the bases,' he said — self-esteem, mental and physical health, and motivation to excel in school or work. As well, people in poverty who are housed but don't have furniture at home are far more likely to return to homelessness — 'over 80 per cent,' Georgeson said, due to a lack of community. As someone who's experienced furniture poverty himself, Georgeson can also speak to how common it is, especially in the city's core. People who come through Oyate Tipi are referred by one of the partners, interviewed, and then welcomed into the centre at 429 Dufferin Ave. to browse and 'shop' through the collection of clean, repaired, (environmentally conscious) pest-controlled couches, chairs, beds and bedding, china and dishes, utensils, and more. Although most are donated — from individuals, as well as IKEA — many of the bedframes are also made on-site in a woodworking room by volunteers. Over 185 beds have been made over the last month, according to Georgeson, by 20 to 30 volunteers on any given day. Many of the volunteers involved in programs at the organization are also from the same communities Oyate Tipi aims to serve: Indigenous youth, members of the 2SLGBTQ+ community, youth who have been through the justice system, and those living in downtown neighbourhoods, to name a few. As well, youth volunteerism, as well as internships, at the bank can often pave the way for becoming paid staff in the future. The very personalized, friendly experience, as well as giving autonomy to participants and volunteers, is what Oyate Tipi has a heavy focus on. 'You can't connect to community by providing things, connection is the broken part,' said Lyle Mustard, communications co-ordinator. 'While our primary resource is providing resources, it's community connection that's important.' Mustard is Métis, and stressed the importance of the furniture bank's role in Indigenous communities, as many participants are facing generational trauma and a loss of stability due to the lasting impact of residential schools. Photo by Emma Honeybun Oyate Tipi Cumini Yape is a referral-based furniture bank in the North End. Alongside helping those facing furniture poverty, it provides volunteer and internship opportunities for youth living in the area, as well as temporary storage for those moving away from unsafe living situations. He said that the way Oyate Tipi aims to help people is to help them like neighbours, because oftentimes, they are. Mondays A weekly look at news and events that matter in your communities. 'This is real life,' he said. 'We have people with lived experiences.' Alongside the furniture bank and volunteering programming, Oyate Tipi provides education through talks and seminars and offers temporary storage for those in the process of moving out of unsafe situations. People interested in volunteering either independently or through their workplace are encouraged to reach out. The organization also accepts monetary donations and furniture donations for the bank. Furniture pick-up comes with a fee, which goes toward staff wages and keeping the organization afloat. For more information, visit or follow @oyatetipi on Instagram and Facebook. Emma Honeybun Emma Honeybun is a reporter/photographer for the Free Press Community Review. She graduated RRC Polytech's creative communications program, with a specialization in journalism, in 2023. Email her at Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Hamilton Spectator
25-06-2025
- Entertainment
- Hamilton Spectator
Amid the pressures of fame, Aysanabee is finding his voice and purpose
TORONTO - A couple of years ago, Aysanabee didn't see himself as an alternative music artist, but lately, he doesn't mind the label. It was thrust upon him at the 2024 Juno Awards in Halifax, where the Oji-Cree musician was nominated in three categories: contemporary Indigenous artist of the year, songwriter of the year and best alternative album for his EP 'Here and Now.' He was most surprised by the latter nod. 'At first I was like, 'Oooh, they just put me in alternative. What does that mean?'' he remembers. Junos history would've suggested Aysanabee was a shoo-in for the Indigenous category, and less likely to win the others. But the opposite happened. He became the first Indigenous artist to win the alternative album and songwriter categories. Looking back, Aysanabee considers those Junos a pivotal step in his search for a musical identity. His career was fast rising at the time, and many people seemed eager to put him in boxes. He was an Indigenous musician, a folk singer and pop-rock songwriter, but he found it most comfortable being seen as an alternative artist. 'I really like it, because 'alternative' is just this catch-all,' he says. 'You're not really pigeonholed. You're like, 'I'm just going to do something weird.'' Right now, Aysanabee isn't making anything especially weird, musically. But with the release of his second full-length album 'Edge of the Earth' earlier this month, he's been reflecting a lot on harnessing the power of his voice. The topic comes up several times in an hour-long chat about his sudden rise to becoming 'medium famous,' as he half-jokingly puts it. The idea of being a recognizable Canadian makes the soft-spoken musician with booming vocals a little timid, as does the suggestion that other Indigenous musicians might consider his success something to aspire to. 'I felt comfortable writing songs in a Winnebago in the in dive bars (and) being on stage,' he says. 'One thing I found really difficult — not difficult, but I took really seriously — was becoming a role model.' He hasn't quite figured out how to handle that responsibility yet; it's something he's working on. Aysanabee was born Evan Pang, a surname he's said was given to him by his mother to avoid anti-Indigenous racism. He grew up in the small northern Ontario community of Kaministiquia, a short drive outside Thunder Bay. As the story goes, he began his music aspirations as a young adult living in a motorhome behind his mother's house, with no running water and only a generator for electricity. Music was more of a hobby at the time. Like many young men in the community, he took manual labour gigs to pay the bills. One day, while working a mining job, he fell through the ice on a frozen lake and narrowly survived. He's said the scare pushed him to chase bigger dreams. Within a short time, he had packed for Toronto, enrolled in Centennial College's three-year journalism program and was performing under the stage name Aysanabee, reclaimed from his late grandfather, a residential school survivor. Once he graduated, he took media jobs at Huffington Post and the CTV News website, but music eventually became his main focus. Aysanabee's 2022 debut album 'Watin' incorporated traits of an aspiring journalist. Its musical elements were structured around audio recordings of his late grandfather sharing memories of residential schools. 'Watin' was shortlisted for the Polaris Music Prize, which helped put Aysanabee on the map. He followed it up the next year with the EP 'Here and Now,' which captured the fallout of a romantic breakup and seemed designed to prove he wasn't merely a concept album artist. It established him as a Canadian indie rock radio force with the hit single 'Somebody Else.' 'Edge of the Earth' arrives after that success and finds Pang assessing a life that's miles away from his past. His accomplishments now include being the first Indigenous artist to hit No. 1 on Mediabase's Canadian alternative rock airplay chart with his song 'Nomads,' and touring with Grammy-winning Montreal native Allison Russell. 'People change, we're not meant to stay the same,' he sings on the new album's opening track 'Embers,' a song about moving past a relationship. 'A lot of the songs were written during a pivotal time in my life where I signed this record deal and suddenly was getting to pursue my dreams ... in a very real way,' Pang says. Of the six producers on 'Edge of the Earth,' Pang says half were women. Grammy-nominated Charlie McClean is credited for 'Embers,' while Toronto R&B singer Kyla Charter co-produced the rousing 'Home.' Juno winner Hill Kourkoutis lent her hand to the album's closer 'Dreamcatcher,' which Pang says captures his internal struggle with early success. Making space for women is something Pang prioritized from early on. He's signed to Ishkōdé Records, an Indigenous and women-led independent record label. 'It's something I am very aware of, probably because my entire team is women,' he says. 'I think a big part of my success is made by working with women, not just because of the care they put into everything they do, but because they've been put in a position (where they) have to work harder than men to carve out this industry.' 'I feel very protected by working with women who have dubbed themselves 'the Aunties',' he adds. After being asked to dive into the significance of his album, he pauses to gather his thoughts. He says it feels self-indulgent to discuss such a personal album when social and political tumult seems at a fever pitch. '(I feel) subconscious talking about (myself) when there's so much happening in the world,' he says. 'I'm just overcome going on in the States, everything that is going on in Gaza. Everything going on everywhere. It seems like a weird time to put out a record about myself, I guess.' He admits he still struggles at times with impostor syndrome. His rise to fame came during a social reckoning that saw BIPOC creators elevated in popular culture, and like many fellow benefactors, he has sometimes wondered why he was chosen. 'I've met a lot of other Indigenous artists who have that same feeling,' he says. 'I think it's something we're always kind of working through.' Pang doesn't want other aspiring musicians to face the same internal struggles. On his current tour, he's hand-picked local Indigenous musicians at each stop to open his show, giving them a spotlight they might not have otherwise. At the end of the tour, he hopes to create a manga-style comic book that illustrates each performer as an Indigenous superhero of sorts, listing entertaining details about their careers and memories of the tour. Pang says a friend suggested the idea, and once he thought it through, he realized it would put a much-needed spotlight on Indigenous up-and-comers to 'keep the conversation going.' 'We rise and fall together,' he says. 'Building a community that helps itself, helps each other and strives to get the best for each other, is the best way to go about it.' This report by The Canadian Press was first published June 25, 2025.
Winnipeg Free Press
25-06-2025
- Entertainment
- Winnipeg Free Press
Amid the pressures of fame, Aysanabee is finding his voice and purpose
TORONTO – A couple of years ago, Aysanabee didn't see himself as an alternative music artist, but lately, he doesn't mind the label. It was thrust upon him at the 2024 Juno Awards in Halifax, where the Oji-Cree musician was nominated in three categories: contemporary Indigenous artist of the year, songwriter of the year and best alternative album for his EP 'Here and Now.' He was most surprised by the latter nod. 'At first I was like, 'Oooh, they just put me in alternative. What does that mean?'' he remembers. Junos history would've suggested Aysanabee was a shoo-in for the Indigenous category, and less likely to win the others. But the opposite happened. He became the first Indigenous artist to win the alternative album and songwriter categories. Looking back, Aysanabee considers those Junos a pivotal step in his search for a musical identity. His career was fast rising at the time, and many people seemed eager to put him in boxes. He was an Indigenous musician, a folk singer and pop-rock songwriter, but he found it most comfortable being seen as an alternative artist. 'I really like it, because 'alternative' is just this catch-all,' he says. 'You're not really pigeonholed. You're like, 'I'm just going to do something weird.'' Right now, Aysanabee isn't making anything especially weird, musically. But with the release of his second full-length album 'Edge of the Earth' earlier this month, he's been reflecting a lot on harnessing the power of his voice. The topic comes up several times in an hour-long chat about his sudden rise to becoming 'medium famous,' as he half-jokingly puts it. The idea of being a recognizable Canadian makes the soft-spoken musician with booming vocals a little timid, as does the suggestion that other Indigenous musicians might consider his success something to aspire to. 'I felt comfortable writing songs in a Winnebago in the forest…playing in dive bars (and) being on stage,' he says. 'One thing I found really difficult — not difficult, but I took really seriously — was becoming a role model.' He hasn't quite figured out how to handle that responsibility yet; it's something he's working on. Aysanabee was born Evan Pang, a surname he's said was given to him by his mother to avoid anti-Indigenous racism. He grew up in the small northern Ontario community of Kaministiquia, a short drive outside Thunder Bay. As the story goes, he began his music aspirations as a young adult living in a motorhome behind his mother's house, with no running water and only a generator for electricity. Music was more of a hobby at the time. Like many young men in the community, he took manual labour gigs to pay the bills. One day, while working a mining job, he fell through the ice on a frozen lake and narrowly survived. He's said the scare pushed him to chase bigger dreams. Within a short time, he had packed for Toronto, enrolled in Centennial College's three-year journalism program and was performing under the stage name Aysanabee, reclaimed from his late grandfather, a residential school survivor. Once he graduated, he took media jobs at Huffington Post and the CTV News website, but music eventually became his main focus. Aysanabee's 2022 debut album 'Watin' incorporated traits of an aspiring journalist. Its musical elements were structured around audio recordings of his late grandfather sharing memories of residential schools. 'Watin' was shortlisted for the Polaris Music Prize, which helped put Aysanabee on the map. He followed it up the next year with the EP 'Here and Now,' which captured the fallout of a romantic breakup and seemed designed to prove he wasn't merely a concept album artist. It established him as a Canadian indie rock radio force with the hit single 'Somebody Else.' 'Edge of the Earth' arrives after that success and finds Pang assessing a life that's miles away from his past. His accomplishments now include being the first Indigenous artist to hit No. 1 on Mediabase's Canadian alternative rock airplay chart with his song 'Nomads,' and touring with Grammy-winning Montreal native Allison Russell. 'People change, we're not meant to stay the same,' he sings on the new album's opening track 'Embers,' a song about moving past a relationship. 'A lot of the songs were written during a pivotal time in my life where I signed this record deal and suddenly was getting to pursue my dreams … in a very real way,' Pang says. Of the six producers on 'Edge of the Earth,' Pang says half were women. Grammy-nominated Charlie McClean is credited for 'Embers,' while Toronto R&B singer Kyla Charter co-produced the rousing 'Home.' Juno winner Hill Kourkoutis lent her hand to the album's closer 'Dreamcatcher,' which Pang says captures his internal struggle with early success. Making space for women is something Pang prioritized from early on. He's signed to Ishkōdé Records, an Indigenous and women-led independent record label. 'It's something I am very aware of, probably because my entire team is women,' he says. 'I think a big part of my success is made by working with women, not just because of the care they put into everything they do, but because they've been put in a position (where they) have to work harder than men to carve out spaces…in this industry.' 'I feel very protected by working with women who have dubbed themselves 'the Aunties',' he adds. After being asked to dive into the significance of his album, he pauses to gather his thoughts. He says it feels self-indulgent to discuss such a personal album when social and political tumult seems at a fever pitch. '(I feel) subconscious talking about (myself) when there's so much happening in the world,' he says. 'I'm just overcome by…everything going on in the States, everything that is going on in Gaza. Everything going on everywhere. It seems like a weird time to put out a record about myself, I guess.' He admits he still struggles at times with impostor syndrome. His rise to fame came during a social reckoning that saw BIPOC creators elevated in popular culture, and like many fellow benefactors, he has sometimes wondered why he was chosen. 'I've met a lot of other Indigenous artists who have that same feeling,' he says. 'I think it's something we're always kind of working through.' Pang doesn't want other aspiring musicians to face the same internal struggles. On his current tour, he's hand-picked local Indigenous musicians at each stop to open his show, giving them a spotlight they might not have otherwise. At the end of the tour, he hopes to create a manga-style comic book that illustrates each performer as an Indigenous superhero of sorts, listing entertaining details about their careers and memories of the tour. Pang says a friend suggested the idea, and once he thought it through, he realized it would put a much-needed spotlight on Indigenous up-and-comers to 'keep the conversation going.' 'We rise and fall together,' he says. 'Building a community that helps itself, helps each other and strives to get the best for each other, is the best way to go about it.' This report by The Canadian Press was first published June 25, 2025.
Vancouver Sun
28-05-2025
- Entertainment
- Vancouver Sun
Edmonton Folk Music Festival lineup: Allison Russell, Rainbow Kitten Surprise, Taj Mahal join The Roots and Mt. Joy
With swirling hip-hop legends The Roots and fuzzy-feelings L.A. rockers Mt. Joy already out of the bag as Saturday and Sunday's headliners — bam! — the rest of the Edmonton Folk Music Festival's lineup has been revealed! The 46 th annual love-in running Aug. 7-10 on Gallagher Park hill is bursting with international deep-cut delights to shining local talent, aglow with soul, folk, rock, country, Afrobeats, blues and more. Nearly 60 more acts just dropped, including North Carolina alt-rock Rainbow Kitten Surprise topping Thursday night after Juno-winning Oji-Cree singer-songwriter Aysanabee and the lovable be-hatted powerhouse Serena Ryder open the fest up — tunes starting Thursday at 6:35 p.m. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Friday night's main stage 9:05 p.m. on is Gen X singer-songwriter Stephen Wilson Jr. — self-identified as 'Death Cab for Country' — and the return of the multi-style, roots Grammy-winning Allison Russell, last here in 2022. Amid the whirl of Saturday sessions, east L.A.'s Las Cafeterias will pepper up the main stage at 2 p.m. with Chicano rhythm and zapateado dancing. Then, Saturday night, the cultural call-and-response slides in with 83-year-old bluesman Taj Mahal at 6:45; indie pop DJ and model Goldie Boutilier also out of L.A. up next; back from last year, public defender and powerhouse soul/R&B belter Danielle Ponder; bringing us of course to 2025's big-name booking: Philadelphia's The Roots. World-travelling Democratic Republic of Congo ensemble Jupiter & Okwess start things off centre stage at 2 Sunday afternoon, then shifting gears, it's the Seattle folk-rock of Richy Mitch & the Coal Miners at 6:50. This is followed by an American-Australian roots jam with John Butler, then Mt. Joy and the Sunday-night lantern parade, then cue Four Strong Winds. The Roots were something else at Calgary Folk Fest last year, and I'd say you don't want to miss the electrified blues guitar and drumming of Cedric Burnside — but longtime festival producer Terry Wickham is happy to offer his deep cuts and must-sees. 'Watch out for Jesse Welles,' says Wickham. 'He's got a big online presence, very political. He talks about what America's like right now, all of that. 'Riley Walker and Bill McKay, two great guitarists — so I think that's going to be a sleeper hit.' Wickham adds the psychedelic soul of Monophonics to the list, noting Willi Carlisle's also a lot of fun. 'Ian Ngo is a great songwriter in the country vein, so he's going to be really strong. Māmā Mihirangi & the Māreikura are going to be exciting — a lot of looping and that kind of stuff,' Wickham notes. 'And Calvin Vollrath, we're not going cheap, so we're bringing him in with a five-piece.' As far as general operations go, no big announcements this year — more food trucks, some extra shade, that sort of thing — though we did get a bit doomy talking about worst-case scenarios if fire season forced a cancellation due to air-quality safety. 'A couple of rainfalls this week were good,' says Wickham. 'The farmers need rain, the gardens need rain — it just makes the place look better. But I don't think that's going to have any impact on August. 'We're in for a dry spell coming up, so we'll see if things start to spark up. 'I mean, wildfire smoke is an existential threat to all the festivals outdoors.' That consideration aside, costs have also been reliably rising, especially headliner fees. 'It's doubled or quadrupled, post pandemic,' notes the producer of the non-profit festival. 'Dynamic pricing, excess demand, etc. And it won't stop until people stop buying tickets at crazy prices.' This makes it especially noteworthy that ticket and pass prices this year are holding steady, no increases. 'We could go up and people would grumble,' says Wickham, but I'm so tired of inflation everywhere, that at least one place, for one year, we can hold the line.' He notes the folk fest will always continue to do what it can, and that 'money is not everything to all the artists. 'They do look for special places to play,' says Wickham, noting Ben Harper once said it was his favourite. 'And I did hear two band members from The National talking and saying, 'Which is your favourite, here or Red Rocks?' So that kind of thing is nice to hear.' Bringing it home, the local acts include AV & the Inner City, St. Albert's Current Swell, Nîpisîy, Secondhand Dreamcar and let's note Shaela Miller's country music by way of Lethbridge. School of Song will also highlight local talent Asiah Holm, Halfway Home, Sam Steffen and Tayler Grace, and the Nikamowin indigenous programming will spotlight even more locals by the fest's central tipi. 'There's a lot of great talent out there,' says Wickham. 'I said yes to a lot of people who have been knocking on the door for a few years. 'About 60 per cent of the artists have never played here before. We haven't been too nostalgic. So I feel good.' Pre-GST and fees, adult personal weekend passes (25-64) are $234, single tickets Thursday or Friday are $109, and Saturday or Sunday $115. Seniors 65-79 are $179 for a Personal Pass, $56 for single days, and 80+ get in for free. U-25 (18-24) is $189 for a Personal Pass. And for youth 12-17, $117 for a Personal Pass, $42 for a single day, with children 11 and under free. All passes and single days go on sale at 10 a.m. Saturday, June 7, online only at . Now, please enjoy the full list of 2025 EFMF acts! AHI Allison Russell AV & the Inner City Aysanabee BALTHVS Blackburn Brothers Blue Moon Marquee Burnstick Calvin Vollrath Cedric Burnside Charlie Cunningham Current Swell Danielle Ponder De Temps Antan Dervish Dry Bones Elizabeth Moen Goldie Boutilier Haley Heynderickx Ian Noe Jeffrey Martin Jennifer Castle Jesse Roper Jesse Welles John Butler Julianna Riolino Jupiter & Okwess Ken Pomeroy Kíla Kim Churchill Las Cafeteras Madi Diaz Māmā Mihirangi & the Māreikura Mama's Broke Marcus Trummer Martyn Joseph Mary Gauthier Melissa Carper Monophonics Mt. Joy Nîpisîy Rainbow Kitten Surprise Richy Mitch & The Coal Miners Ryley Walker & Bill MacKay School of Song: Asiah Holm , Halfway Home , Sam Steffen , Tayler Grace Secondhand Dreamcar Serena Ryder Shaela Miller Steph Strings Stephen Wilson Jr. Taj Mahal Talisk The Roots The Sensational Barnes Brothers The Slocan Ramblers Wesli Willi Carlisle Yasmin Williams fgriwkowsky@ @ Bookmark our website and support our journalism: Don't miss the news you need to know — add and to your bookmarks and sign up for our newsletters here. You can also support our journalism by becoming a digital subscriber. Subscribers gain unlimited access to The Edmonton Journal, Edmonton Sun, National Post and 13 other Canadian news sites. Support us by subscribing today: The Edmonton Journal | The Edmonton Sun.
