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TABLE OF CONTENTS Funders, Sponsors and Partners................................................................................................................4 The President’s Message ...........................................................................................................................5 The Executive Director’s Message ............................................................................................................6 FMO/FMC Export Development Program . ..............................................................................................9 FMO Member Festivals ...........................................................................................................................10 Rules of the Road .....................................................................................................................................14 Art Beat - From the Audience’s Perspective............................................................................................18 New Members Listing...............................................................................................................................20

BOARD OF DIRECTORS 2014/15 Executive Committee

President Alex Sinclair................................. Vice President Rachel Barreca....... Treasurer Jan Cody.............................. Secretary Amie Therrien................... Member-at-Large Shawna Caspi........................... Directors Nicole Colbeck..................... James Jani Lauzon.................................... Brad McEwen................................ Scott Merrifield............................. Katharine Preetam Jerry Switzer....................... Past Presidents Jim McMillan Magoo Bill Marshall Carolyn Bigley Warren Robinson

Doug McArthur Sam Baijal Aengus Finnan Paul Mills Scott Merrifield

STAFF Executive Director – Alka Sharma Office Manager – Jennifer Ellis ......................... Volunteer Coordinator – William Meloche Bookkeeper – Lynn Rae Past Executive Directors Peter MacDonald Erin Benjamin Phone: 1-866-292-6233 or 613-560-5997 Fax: 613-560-2001 Mailing address: 508-B Gladstone Avenue Ottawa, ON K1R 5P1 Printing and layout by Orion Printing Cover photo by Ron Hill Instruments and gear on stage at 2014 Mariposa Folk Festival.

Past Estelle Klein Award Recipients Richard Flohil Harvey Glatt Ken Whiteley Mike Stevens Sylvia Tyson Arthur McGregor The Friends of Fiddler’s Green Paul Mills Ian Tamblyn Grit Laskin Sharon, Lois & Bram Jackie Washington Estelle Klein Bernie Finkelstein Stan Rogers Please visit for ad rates, formats and sizes. Submissions (max. 500 words) and pictures welcome! We cannot guarantee inclusion of your submission in Folk Prints (but we’ll try!). Please send submissions in text format only. If you have pictures, call us before sending them. The views expressed in this magazine are those of the authors and are not necessarily those of Folk Music Ontario. Questions or comments regarding Folk Prints should be brought to the attention of Alka Sharma at asharma@ Articles and photos may not be reprinted without the express written permission of the author and/or photographer.





The president’s message

This is folk music, and passions run high. I suggested that awhile back as the motto for a folk record label. It might have raised some smiles at the time, but now I think I’m right. For the past several weeks the FMO board and staff have been participating in a number of activities to help us hammer out the next five-year Strategic Plan. One of those activities was conducting interviews with members, and as I talked to my various interviewees, I found that passions do indeed run high. Ask people what’s good or bad about the folk scene, or about FMO, ask them what they think we should be doing or what we shouldn’t be doing and the conversation starts out something like, “I don’t know – I’ve never really thought about it.” And 45 minutes later you can’t shut off the flow of ideas, arguments, criticisms, and compliments. It turns out that our members do care about us. And they also care passionately about the music they play, the venues they run, the artists they admire. They care about cutbacks to arts

funding and they care about how the remaining money gets spent. And even in what might be perceived as the more mundane of our board’s committees – Nominations, Awards, Governance (well, we call it PP&G but it’s rare that anyone remembers what the initials stand for) – the discussions often run long as directors try to work their way through issues that are always more complex than they first appear. For a few years, my favourite committee was Finance. That was where the crisis was and that was where directors seemed to throw the most weight. Now that FMO’s finances are more stable, the board is turning to the future – how can we become a more inclusive organization, how can we attract more presenters to the conference and get them to really hear the new artists, how can we fire up more events outside the conference, how can we improve the professional development side of our work (especially for young artists)? Another thing I heard in our conversations was, “We need all the inspiration we can get.” Maybe it came from a songwriter, I don’t remember. But it pointed out one of our strengths and concomitantly one of our weaknesses: We speak for a lot of different communities. If we spend time helping songwriters, then festivals think they’re being shortchanged; if we help festivals, the small presenters feel left out; if we help anyone, someone feels abandoned. But we need all the inspiration we can get. We need all the help 

by Alex Sinclair

we can get. We need all our members to understand that helping one means helping all – it only works when all parts work together. Festivals actually aren’t that interesting when there’s no music, or when this year’s music is the same as last year’s. Songwriters don’t write as well when there’s no audience to sing for. Festivals need small presenters to foster the new performers, small presenters need festivals to provide profile and larger fan bases for the performers. Songwriters need the traditional singers to remind us where we come from. It’s great when we work together. Not so hot when we don’t. And we need all the ideas and all the energy from all our members to ensure that we all survive regardless of what party is in power, no matter what the level of arts funding. All of this is subsumed in the larger issue of how we manage to improve our ability to include a broader range of participants in our community. Folk music is a large tent, but we need to make it larger. There are too many in the aboriginal communities, the francophone communities, the remote parts of Ontario, the new immigrant communities who aren’t sufficiently active in FMO and we’re not active enough in their communities. This will be a major focus of our new Strategic Plan, and we invite all of our members to join not just the conversation around inclusivity, but the actions that will welcome more people into our world, where passions run high.

the Executive director’s MESSAGE by Alka Sharma

Folk Music Ontario is really excited that it’s finally spring! I hope that it is warm wherever you are located. We’re happy to have held our second annual FMO Festival Members’ Retreat. The retreat was targeted to our festival members’ Executive Directors, Board members and festival administrators, over the weekend of May 29 – 31 in Orillia, ON at the Lakehead University facilities. This year one of the topics was live music in Ontario and the Ontario Music Fund. We were very

pleased that Assistant Deputy Minister of Tourism, Culture and Sport, Kevin Finnerty, provided an informational session to Folk Music Ontario’s member festivals. The retreat would not have taken place without the financial support of the Department of Canadian Heritage. The organizing committee this year was made up of Brad McEwen (the Mill Race Festival of Traditional Folk Music), Chris Lusty (former Board member of Mariposa Folk Festival), Peter Zwarich (River & Sky Music/ Camping Festival) and Ruth Parsons (Summerfolk Music and Crafts Festival). Thank you for all of your hard work! FMO is embarking upon a new Strategic Plan for 2015 – 2020. There is a lot of work being put into the plan. We would like to thank you as members for participating by answering the survey, and if you were contacted by a Board Member to participate in a phone call interview, thank

you for your feedback. The Plan will guide the organization for the next five years in order to make Folk Music Ontario better and stronger. As we start planning for the 2015 conference, which will be taking place again at the Westin Bristol Place Hotel in Toronto, we are eager to produce another thought-provoking and interesting weekend. We have added six more slots to the Official Showcases starting on Thursday, October 15th, resulting in more opportunity for artists to perform for artistic directors and other presenters. This brings the total number of Official Showcases to 36 slots. Your input from the surveys collected after the conference really helps guide how the conference will be planned. Please keep in touch and thank you for your input. Have a great summer and I look forward to seeing many of you at our member festivals!


We are your complete

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Theatres Festivals Conferences Arenas Promoters Producers 







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FMO/FMC export development program by Tamara Kater

As industry conferences have grown and evolved, the addition of targeted initiatives to bring artists together with those who can advance their music careers has become a keystone to many contact events. In Canada, the East Coast Music Association was a pioneer in developing export development programs, and its Export Buyers Program has been a model that has inspired many other organizations to follow suit, including Folk Music Ontario. In 2009, Folk Music Ontario partnered with Folk Music Canada to deliver their first formal buyers program, bringing eight export delegates* to the conference and organizing networking programs. Since then, this initiative has grown significantly. Now called the Export Development Program, in 2014 there were 27 export

delegates brought in from Canada and the USA. These delegates were matched with 58 showcasing artists, and more than 800 one-onone meetings took place. We estimate that over $440,000 of bookings were generated from this program. How do we put this all together? Well, firstly, we ask artists to apply for the program, not only to evaluate if they are ready to participate, but also to learn what they need in their career. Then, as we are learning what the artists need, we seek out delegates who match those artists’ needs. Then, once everyone is confirmed to participate, we sit down and hand pick each meeting. Kind of like matchmaking for dating, but with a musical twist. Out of this we hope that everyone leaves the conference happy

- delegates find the music they need and artists get the opportunities they were looking for. Are you an artist interested in applying to the program? Keep your eye out for applications opening in July! *What is an “export delegate”? Simply put, the delegate is anyone who is essential in helping an artist build their career outside of their usual market, i.e., programmers, artistic directors, agents, publicists, music supervisors, managers, etc. Tamara Kater Executive Director Directrice exécutive Folk Music Canada Musique folk du Canada

FMO member festivals July 16 - 19 juillet LE FESTIVAL DU LOUP DE LAFONTAINE - Lafontaine 705-533-0003

Year-round / Toute l’année January/janvier - December/décembre HARBOURFRONT CENTRE FESTIVALS - Toronto 416-973-4000

July 17 - 19 juillet HOME COUNTY MUSIC & ART FESTIVAL - London 519-432-4310

June / juin June 19 - 21 juin TOTTENHAM BLUEGRASS FESTIVAL - Tottenham 905-936-4100 888-886-4566

July 17 - 19 juillet RIVER AND SKY MUSIC/ CAMPING FESTIVAL - Field 866-892-9766

July / juillet July 3 - 5 juillet MARIPOSA FOLK FESTIVAL - Orillia 705-326-3655

July 17 - 19 juillet STEWART PARK FESTIVAL - Perth 613-264-1190

July 3 - 5 juillet NORTHERN LIGHTS FESTIVAL BORÉAL - Sudbury 705-674-5512

July 24 - 26 juillet HILLSIDE FESTIVAL - Guelph 519-763-6396

July 8 - 19 juillet RBC ROYAL BANK BLUESFEST - Ottawa 613-247-1188

July 31 juillet - August 2 août BLUE SKIES MUSIC FESTIVAL - Clarendon Station 613-279-2610

July 9 - 12 juillet TD SUNFEST - London 519-672-1522

July 31 juillet - August 2 août THE MILL RACE FESTIVAL OF TRADITIONAL FOLK MUSIC - Cambridge 519-621-7135

July 10 - 12 juillet CANTERBURY FOLK FESTIVAL - Ingersoll


August 29 août EAGLEWOOD FOLK FESTIVAL - Pefferlaw 1-888-817-FOLK (3655)

August / août August 3 - 9 août GODERICH CELTIC ROOTS FESTIVAL & CELTIC COLLEGE - Goderich 519-524-8221

September / septembre September 4 – 6 septembre SHELTER VALLEY FOLK FESTIVAL - Grafton 905-349-2788

August 7 - 9 août FERGUS SCOTTISH FESTIVAL AND HIGHLAND GAMES - Fergus 519-787-0099 / 866-871-9442

September 16 - 20 septembre CITYFOLK - Ottawa 613-230-8234

August 7 - 9 août KINGSVILLE FOLK MUSIC FESTIVAL - Kingsville 519-997-7777

October / octobre October 15 - 18 octobre FOLK MUSIC ONTARIO 29TH ANNUAL CONFERENCE - Toronto 613-560-5997 / 866-292-6233

August 7 - 9 août LIVE FROM THE ROCK FOLK AND BLUES FESTIVAL - Red Rock 807-886-9910

COMING UP IN 2016: February 12 - 14 février WINTERFOLK XIV - Toronto

August 7 - 9 août TROUT FOREST MUSIC FESTIVAL - Ear Falls

March 4 - 7 mars WINTER FOLK CAMP - Haliburton 705-457-9110

August 20 - 23 août SUMMERFOLK MUSIC & CRAFTS FESTIVAL - Owen Sound 519-371-2995

August 30 août - September 5 septembre ASHKENAZ FESTIVAL - Toronto 416-979-9901

August 21 - 23 août PETERBOROUGH FOLK FESTIVAL - Peterborough


Folk Music Ontario B&W Ad 2015 (3.125 x 2.125) 3.5 x 2 (100% K - OK) OUTLINED.pdf










S U D B U R Y, O N T A R I O






10:55 AM



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RULES OF THE ROAD by Jonathan Byrd

I’ve been on the road fifteen years. Artists ask me for advice on touring, making records, and where to get those corduroys. I’m not sure how competent I am to advise, except to send you to a Japanese department store called Uniqlo in New York City for the corduroys. The rest of the answers can vary enormously, depending on your art, your personality, and your budget. Here’s what I’ve learned that makes touring enjoyable, effective, and sustainable: 1. Never eat a meal that costs less than a can of dog food. It’s okay to eat a burger. Just eat a real burger. 2. Never comment on technical issues to your audience. Don’t apologize for tuning, adjusting your mic stand, etc. Professionalism is fascinating. Focus, fix the problem, and then go on with your show like a boss. 3. What you say is just as much a part of the show as what you sing. Work on your patter as hard as you work on your songs or just

say “thank you” and sing the next song. If you can tell one good story, your audience will love you a hundred percent more. 4. Celebrate your mistakes. They make you human. People appreciate greatness, but they love humanity. 5. Start and end on time. Time is the most important resource in the entertainment business. Most songwriters can play nine songs or less in 45 minutes. The Ramones could have done fifteen or twenty. Be professional and time your set. Radio and television have zero tolerance for amateurs in this regard. Nothing makes enemies like cutting into someone else’s set. If, like me, you lose track of time on stage, download a big-digit timer app, turn the sleep function off on your phone (and the incoming connections!), and set it on stage in front of you. Decide ahead of time which songs you’ll cut if you run over. No excuses. 14

6. Arrive on time. If I’m travelling alone, I’ll get to my destination pretty much when Google says I’ll get there. If I’m travelling with one other person, it takes 30 minutes longer. Two people, an hour longer. I add a half hour of travel time for each person. It beats yelling at each other over bladder issues. Your bandmates may freak out when you tell them you’re leaving at 6:30am, but you’ll get to the gig on time and you’ll be able to stop whenever anyone needs to stop. If there’s a person who is always late to the van, add another half hour. Nothing says “amateur” like being late to the gig. 7. Be generous with your gratitude. Thank the presenter, event sponsors, the sound person, your band if you have one, and the audience. It’s always classy. 8. When someone compliments you, say “Thank you.” Never disagree or demean yourself. Allowing people their opinions is true humility. 9. Take personal responsibility for your performance. Everybody has colds, technical problems, and chatty audiences. Professionals learn from adversity and even harness it. I recently played a gig where the soundman never showed up and we were cheated out of half the door. I had to find the stereo behind the bar and turn it off. I tracked down the outlet for the stage lights and

plugged them in. We found a mic and put on a show for two hours. Afterwards, a fan gave me a hundred bucks for one CD. The audience will never know the behind-the-scenes headache and they shouldn’t. We’ll never bring our fans to that club again, but they will come see us wherever we play next time because we played anyway. Keep your eye on the prize, and the prize is fans. Forget about the crappy club and the DJ who won’t play your record and the festival that won’t book you. Play for the fans. 10. Be sober for your show. If you need to loosen up, meditate or stretch. There are very few people who can rock when they’re intoxicated. You’re probably not one of them. 11. Do things that make you happy. Never do a job purely for money or fame. Career success will not make you happy and there are enough examples to prove that it will actually kill you instead. Spend time with your friends and family. Exercise. Cook your own food. Build a car. Feed the homeless on your day off. Enjoy your work or find another job. If everyone around you is miserable, it’s probably you. 12. Do your taxes on time. Be honest with Immigration when touring abroad. Keep everything above board. A government never forgets. 13. Drink lots of water. Keep water in your touring vehicle. Have water on stage. Have water backstage. Drink water after the gig. Dehydration is the number one cause of everything.

14. Talking politics on stage doesn’t change the world. It alienates half your audience unless or until the audience is made of people who agree with you anyway. Opinions, in general, are boring. Keep it universal. There are enough things around to divide people. Bring them together. I saw a band who pedaled stationary bikes on stage to generate their electricity. It was a powerful statement about energy and fun to watch. If you can make your message entertaining, you win. Show, don’t tell. 15. Help other artists. Play your friends’ songs. Check with the club to see who’s coming and promote a future show. Spend as much time helping people around you as you do asking for help from people above you. When you have the ear of an important person, turn them on to a great unknown artist. Everyone loves discovery. The only time I ever got a publishing hold on a song, it was someone else’s song. If I hadn’t brought that song to the table, I wouldn’t have a relationship with that publisher. If they want your music, they’ll ask for it. If you’ve been performing for a while, you’d be surprised who has heard your music. Truly famous people can’t come to your show without eclipsing the whole scene and they know that, but they still love music. I’ve read that Elton John calls record stores and asks to shop after hours especially to discover new artists. Caveat: if you have exactly the right thing for someone, something that is absolutely bulletproof and might even advance their career, it’s okay to land a helicopter on 15

their lawn and give them a cassette. But you better be damned sure. 16. Unless you live on the edge of civilization where rental cars are very expensive, you should never drive your own vehicle on tour. Maintenance costs are a hidden cancer. Renting or leasing keeps all expenses up front, increases vehicle reliability, and reduces the chance that you’ll get a ticket for improper equipment (speedometer out of calibration, headlight out, etc.). If you break down, you get another car and an apology. If you’re sharing the ride with other artists, no one gets stuck replacing a transmission that everyone used for three months. Most surprisingly, depending on your age and touring density, renting can be less expensive than driving your own vehicle. Never buy their coverage; check with your insurance agency to make sure you’re covered. 17. Use cruise control. Take breaks and switch drivers if possible. Don’t speed just because you’re late. You’ll be later if you get pulled over for speeding, and imagine how late you’ll be if you’re dead. Over two thousand people died in Canadian traffic last year. That’s Dawson City and Canso combined. Driving is the most dangerous part of our occupation. 18. Pay your credit cards off every month. Never use a credit card to record an album; the return on your investment can take years and cost you thousands in interest. Use credit cards for short term loans, like t-shirt printing or gassing

up the van. Sell the merch, collect the gate, pay it off. Even better, set aside money every week and build your ability to pay forward. You can still use your card for points and pay it off at the end of the month.

imagined what an impact going to the table and hearing their stories would have on my life and my art. Keep your boundaries in mind, and go talk to your fans.

19. Get sleep. Draw your boundaries. Be assertive and gracious about your allergies, dietary needs, etc. The road is hard on your body and mind. People want to talk to you because you’re an exciting, interesting person. Draw clear boundaries and any reasonable person will understand. “I need to lay down for a few minutes.” “I need to call my wife.” “I’m sorry. I can’t eat this. Do you have ingredients for a salad?” In the end, your health and welfare is your responsibility, just like your performance. Take the helm and show your appreciation to anyone who tries to make your life better on the road, whether they get it exactly right or not.

21. Ask for help. No one can do everything. If you’re playing to a hundred people or fewer every night, your chances of finding an agent, manager, or label are very slim. At this level, you’re not really in the music business. You’re in the music community. Fans will write code for you. Fans will go to the post office and hang posters. Fans have guest rooms. You think it’s a burden because you do it every day. It’s just one or two special nights a year for your fans and they know you don’t make any money. That’s part of why they love you – because you do it anyway! Your integrity is irresistible. Reach out to your community. Offer your guest list and free merch. Most likely, they’ll pay for a ticket and a CD anyway.

20. Stay in touch with your fans. Go to the merch table after the show. If you’re shy, deal with it for ten minutes. Ask them about their lives. “Is this your son?” “What’s your name?” “I love your scarf.” Be real and make it about them. Believe it or not, it’s about them anyway. I’m an introvert but I need to make money. I spent the first ten years of my career learning how to sell CDs and it opened my heart. Now it’s my favorite part of the night. People name their children after my songs. They get tattoos of lyrics and album artwork. They use my songs like a flashlight through their darkest nights. I never

22. Look distinctive. The Milk Carton kids wear suits. Scott Nolan can wear a tank top and show off his rad tattoos. The ladies of Chic Gamine contrast their musical muscle with a feminine look. If you’re not a visual person, ask a stylish friend to help you. Sure we shouldn’t judge you by appearances, but we do. Deal with reality and get a look. Hire a serious photographer and designer for your promo. Cutting corners here is flushing money down the toilet. You’re going to pay to print the posters – pay to make them attractive or they will have the opposite effect from promotion. 16

Great looking CDs sell themselves. T shirts. Your website. An effective way to save money is to use the same great images across all your visuals. This ties everything together. It’s called “branding.” See also: my corduroys. 23. Be faithful to your lover. A life on the road requires more integrity, not less. What happens on the road NEVER stays on the road. You’ll hurt someone, maybe two people, and you’ll think less of yourself. Be someone you can be proud of. 24. Never travel with illegal drugs. Dumbest move ever. They’re everywhere you’re going. If you can’t find drugs, maybe you’re not smart enough to be doing them. 25. If you write an essay, consider making it a numbered list. You’ll get more readers. I’ve broken most of these rules. I still do sometimes and I always regret it. That’s why I have them. Anyone can think of an artist who breaks the rules and wins anyway. That’s not you or you wouldn’t be reading this. It’s not me either. The reward of learning your limits is greater freedom. I wish you all success! I hope I get to play with you someday. I promise I’ll end my set on time. Your fan, Jonathan Byrd

e h t t a t c e n n o c e m o C ‌ s d a o r s s cro

28th Annual Folk Alliance The

International Conference, CAMP & FAIR

FEB 17-21, 2016 KAnsAs CIty, MO Official Showcase applications and Discounted Early Bird registration:

July 1- Sept 30th



Last October, my students and I had the pleasure of hosting singer/songwriter Dawn Pritchard at St. Marcellinus Secondary School in Mississauga. Ms. Pritchard came to perform, and she also spoke to our music students about her life and career as a folk artist. This opportunity was part of the Art Beat community outreach program, provided by Folk Music Ontario. Ms. Pritchard was very gracious in volunteering her time and talents. She performed several of her songs, inviting us to share in her musical endeavors as she shared with us the personal meanings behind her music as well as the importance of folk music. Her performance was very engaging, especially

as she explained the writing process and the significance of each song she performed. There is a special connection between the audience and the performer when the artist takes the time to explain details about a song, and my students were given this unique understanding live and first-hand. As a music educator, I find these experiences to be very valuable to my students as a supplement to and an extension of their in-class learning. It is a special privilege for students to be given the opportunity to speak directly to a professional musician who is practicing their craft in ways that enrich their life. Ms. Pritchard provided an original educational experience allowing a diverse group


of students to ask questions and engage with her on a more personal level; she even provided each of us with a copy of her CD! My students and I were very impressed by her knowledge, talent, professionalism and the education she provided by sharing her craft in such an intimate way. The Art Beat program is very beneficial to the furthering of music education in Ontario. My students and I would like to thank Dawn Pritchard and Folk Music Ontario for this wonderful and meaningful learning experience! Alexandra Zullo Music Director St. Marcellinus Secondary School

JULY 3-5, 2015



New Members the Following new members joined FMO since the last issue of folk prints: New Ontario Individual Members Coco Love Alcorn, Owen Sound Graeham Barker, Ajax Lesley Marie Boileau, Cobourg Katherine Breeson, Toronto Glenn Buhr, Waterloo Selena Burgess, Barrie Maxim Cossette, Ottawa Scott Dibble, Etobicoke Richard Fortin, North Bay Isabel Fryszberg, Toronto Rory Gardiner, Ottawa Linda Godkin, Keswick Derek Gray, Toronto Melina Hanke, Barrie Ray Harris, Ottawa Doug Hendry, Ottawa Kathryn Hummel, Toronto Ahkinoah Izarh, Toronto Spencer Jose, Sudbury Elle Kay, Thunder Bay Greg Kelly, Ottawa Steve Kenny, Owen Sound Danielle Knibbe, Toronto Raina Krangle, Aurora Janice Lee, Kitchener Jane Lewis, Guelph Sandy MacNevin, Toronto Amy Mangan, Orillia Jen McKerral, Sudbury

Cody McMillan, Sault Ste. Marie Ron Mills, Richmond Sarah Milner, Peterborough Meghan Morrison, Toronto Andrew Nunno, Owen Sound Kunle Olorundare, Toronto Neil Parent, Barrie Sean Patrick, Peterborough Melanie Peterson, Toronto Paul Rogers, Brantford Tracy Rogers, Brantford Sarah Siddiqui, Toronto Shaina Silver-Baird, Toronto Gautam Subra, Ottawa Carolyn Sutherland, Smiths Falls Julian Taylor, Toronto Catherine Thompson, Burlington Richard Tribe, Thunder Bay Chris White, Ottawa Amanda Woods, Cornwall Campbell Woods, Smiths Falls Peter Woods, Smiths Falls

MyEventApps, Ottawa Red Leaf Music, Ottawa The O’Pears, Toronto

New Ontario Organizational Members Duplium Muzic, Thornhill Ears to the Ground, Georgetown Music Managers Forum Canada, Toronto MusicOntario, Toronto

New Out-of-Province Organizational Members Mundial Montreal, Montreal, QC Stash Wyslouch Band, Boston, MA

New Festival Members Kingsville Folk Music Festival, Kingsville New Out-of-Province Individual Members Dennis Ellsworth, Charlottetown, PE Jay Gilday, Edmonton, AB Andy Gordon, Kangaroo Valley, NSW, Australia Spook Handy, New Brunswick, NJ Jory Kinjo, Calgary, AB Brett Nelson, Winnipeg, MB Ben Spencer, Montreal, QC Matt Tomlinson, Montreal, QC James Whitmire, Kingston Springs, TN Stash Wyslouch, Boston, MA Brad Yoder, Pittsburgh, PA

Updated: June 2, 2015

2015 BOARD ELECTIONS FMO’s Board of Directors is a dedicated and enthusiastic group of thirteen volunteers, elected democratically by the membership via advanced balloting during the fall and at the annual conference in October. Four directors on the Board will be completing their terms this fall, and the new slate of candidates will be published on the FMO website later this month. To read more about the Board election process, please visit – click on About Folk Music Ontario / Board of Directors. Advance balloting for FMO members will begin September 12, 2015. Remember, your vote is your voice!



Profile for Folk Music Ontario

Folk Prints Spring 2015  

Folk Prints Spring 2015  

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