It’s December in Canada, and Mother Nature has already announced in no uncertain terms that she intends for this one to be a white Christmas. This also means the ubiquitous Christmas albums will be hitting shelves and streaming platforms with more of the same old carols that you’ve been hearing since you were a little kid, without much variation in the sound. London, Ontario’s Maggie’s Wake have made a statement of their own with the release of Close to Home, a seven-song holiday-themed EP, with three never-before-heard, original Christmas tunes.
Maggie’s Wake is a bit of a super group, (forgive me if you’ve read me saying that once or twice before), including two of Canada’s finest fiddle players in Tara Dunphy (The Rizdales and solo) and Lindsay Schindler (Rant Maggie Rant and Trent Severn) rounded out by the rhythm section of Andrew Kosty on upright bass and Kenneth Palmer on guitar. Kenneth was also the EP’s engineer/mixer with production by Tara and Lindsay.
(Pictured: Maggie’s Wake.)
The seven songs include a gorgeous cover of Gordon Lightfoot’s “Song For A Winter’s Night”, a handful of traditional/original Christmas/winter songs arranged for fiddles, guitar, and bass, as well as flute and tin whistle by Tara, plus three original Christmas songs written by Tara Dunphy. If you have not been exposed to the music of Maggie’s Wake thus far, you should know that these are four serious players! Their chemistry as a band is highly evident within the first notes of the warmly endearing “Ontario”. It’s a song that describes some of the best parts of being an Ontarian, like making snow angels and coming in to hot chocolate and maybe a “mini sticks” game in the basement or maybe a proper game of shinny when dad gets the frozen pond lit up.
“It’s dark before dinner but now we can play, I’m Wendell Clark and you’re Gilmour today!” – from “Ontario” by Tara Dunphy.
The beauty of Maggie’s Wake is their ability to jump around genres from traditional Celtic sounds to country, folk, and jazz. The latter is evident in the second Tara penned piece, “It ain’t Christmas without You” which sounds like it would be right at home on a Stéphane Grapelli album with its bouncy blend of Hot Club Jazz and Western swing vibes. The Line “they can deck the halls and trim the tree, but I’ll tell Santa when I’m on his knee, that it ain’t Christmas without you” is typical of the playful and clever lyricism that a veteran songwriter like Dunphy is capable of, as evident in the darkly romantic pieces she has written for her Honky Tonk band, The Rizdales.
(Pictured: The Rizdales. Photo by Paul Latorre.)
Interwoven throughout the EP are traditional song sets expertly arranged by Lindsay Schindler and the fellas, and they have that same sort of playful feel as opposed to old recordings of pieces like “God Rest Ye Merry Gentleman”, “The First Noel”, or “Oh Holy Night” that can often come off as staid and stuffy. The quality of the musicianship within this ensemble cannot be overstated! Two of the instrumental pieces were written by Lindsay Schindler, “Into the Shadows”
which is part of the “God Rest Ye…” set, and the beautiful title piece, “Close to Home”.
Rounding out the seven-song effort is another Tara Dunphy original, “Christmas is Coming (for you!)” which is probably one of the sweetest, yet cheerfully cynical new Christmas songs I’ve heard in many decades. It describes the stresses of the holiday season as being a holiday hyped by marketing execs and gives a nod to Christmas Music and decorations coming out before Hallowe’en has even passed. Like all the classic stories of the “bah humbug” attitudes of the protagonist, this song resolves into the realization that what it’s all really for is that moment when you get to step back and see that it was all about your love of family and friends and community.
Throughout the album, Tara sings naturally and almost effortlessly with a very controlled and clear voice. I’d hate to embarrass her by stating this, but she almost reminds me of Anne Murray in that she can take a song in any genre and make it her own, just from the distinctiveness of her voice. Don’t get me wrong on that; she sounds 100% like Tara Dunphy, and when blended with Lindsay’s rock-solid harmonies, this album has some of the finest singing this country has ever produced. There is a pretty good reason why they were bestowed with the Canadian Folk Music Award for Best New/Emerging artists in 2025.
This is my first real exposure to Maggie’s Wake, other than some YouTube videos and such that I have seen posted online. To say I am in awe of their talents is a huge understatement. Everything about this group and this release is very refreshing and somewhat wholesome, and is music you can share amongst friends and family, and also music that I hope reaches the ears of folks right across this vast country of ours. These pieces have what it takes to stand the test of time, so I encourage you to follow the links and check it out for yourself.
Please check out their Patreon-style page, where they are trying to raise funds for a trip to Ireland for the whole group, for a showcase in Belfast in the Spring of 2026. This is a chance for this hidden Canadian gem to gain exposure throughout the world!
Pianist/vocalist Marque Smith is a very busy, well-known musician in the London area. Since moving to London in 2007, he has been the musical director for plays with Musical Theatre Productions, London Community Players and Original Kids Theatre Company, to name a few. He is also a very experienced choral musician and has been a member of The Karen Schuessler Singers, The Nathaniel Dett Chorale, The Toronto Mendelssohn Choir, The Toronto Mendelssohn Youth Choir and The Canadian Children’s Opera Chorus.
He has performed with many of the city’s leading soloists, choirs and ensemble groups, including Denise Pelley and London Symphonia. He is currently the Accompanist/Band Leader of the London Gospel Collective.
Marque was the Recipient of the 2012 Queen Elizabeth II Diamond Jubilee Medal from the Governor General for dedicated service to his peers, his community and to Canada.
What follows is an edited Q&A Interview with Marque conducted by The Beat Magazine’s Publisher and Content Manager, Richard Young.
(Pictured: Marque Smith.)
Some basic stuff first: Where were you born? How long have you lived in London?
I was born in Toronto. I lived in London from February 2007 to September 2025. I moved to Port Stanley in October 2025.
Was yours a musical home? Did you have any professional training, or are you self-taught? A bit of both? Could you tell me about your early musical endeavours as a child and teenager?
Yes, music was played quite a bit in my home. I studied classical piano at The Royal Conservatory of Music and jazz piano at Humber College. I sang in The Canadian Children’s Opera Chorus, The Toronto Mendelssohn Youth Choir, The Toronto Mendelssohn Choir, The Nathaniel Dett Chorale, and The Karen Schuessler Singers.
Do you remember the moment when you made the decision that music was going to be a big part of your life?
I was in my last year of high school when I decided to pursue music as a career.
How long have you been playing music professionally?
I have been playing music professionally for twenty-seven years.
Other than keyboards, do you play any other instruments?
I am a vocalist. In elementary school, I played the Baritone and in high school, I played the guitar.
(Pictured: Marque Smith.)
What are your main musical influences?
I love classical, jazz, disco, R & B, hip hop, rap, gospel and pop music.
What influence does your Christian faith have on your music?
I grew up in the church, and faith has had a huge impact on my life.
Tell me about the various groups and musicians you have played with since you started playing professionally. Who are you currently playing with?
The list is long indeed. I perform with a variety of vocalists, instrumentalists, and choirs.
Tell me about any recordings you have made in your career.
I recorded two albums with Nathaniel Dett Chorale, one album with Elizabeth Paddon, one album with Cindy Ashton and one album with Angus Sinclair.
(Pictured: Marque Smith in concert with London Symphonia, The Sounds of Home, December 6, 2025.)
Your social media posts suggest that you are a very busy musician. What projects are you currently pursuing? Do you have any gigs coming up this month or two you would like our readers to know about?
I have a concert on Saturday, December 13 in London with London Gospel Collective and one on Saturday, December 20, with Maggie Grace and Guitar Gord in Port Stanley. There will be more in 2026.
In addition to your musical endeavours, are you involved with any other arts organizations or activities in the London community?
I am a collaborative pianist at the Lester B. Pearson School for the Arts in London. I occasionally perform for The London Arts Council, as well.
Is there anything else you think our readers should know about Marque Smith the musician and Marque Smith the individual?
I am the music director at Grace United Church, Sarnia and have been since October 30, 2022. I have been happily married to my husband, Andrew Koornstra, since September 28, 2024.
“I’m certain of something, then it goes again. Like a dream, when you wake up.”
A Dream Play, by August Strindberg, one of the best-known and least produced plays by the celebrated writer of Miss Julie, is being staged by Fanshawe College Acting for Screen and Stage Production graduating students from December 10 to 13 at the College’s Downtown Campus.
In this brilliant translation from acclaimed British playwright Caryl Churchill, we move fluidly through memories, experiences, free associations, absurdities, and improvisations as Agnes, child of the gods, attempts to untangle what makes human life on earth worth living.
Drawing freely from the aesthetics of provocateurs like Marcel Duchamp, David Lynch, and Derek Jarman, this new multimedia production from the Fanshawe Acting Program’s graduating class promises to surprise and delight, while guiding us to consider the ways, wounds, and worlds we dream into being.
IF YOU GO:
What: A Dream Play by August Strindberg. Adapted by Caryl Churchill. Directed by Eris Thomas. A Fanshawe College, Acting for Screen and Stage production.
When: December 10-12 at 7:00 p.m., December 13 at 2:00 p.m. and 7:00 p.m.
Where: The Goode Foundation Theatre in Fanshawe’s Downtown Campus, 137 Dundas Street, London, ON. Entrance from Dundas.
All hail the rise of craft beer brewing! The feared rival to the big guns of Labatt and Molson, which once ruled the Canadian brewing industry for over a century, has dug deep roots throughout the province, with a handful of fine breweries taking up residence in London.
My local is Storm Stayed on Wharncliffe Road, approaching its eighth year in 2026.
Like most craft breweries, Storm Stayed engages its community with a wide variety of events, ranging from a mom and kids time to the music of opera. And do I need I advise you that there is beer available for those of a certain age?
Snaggle, a six-piece jazz fusion band from Toronto, took up residence on November 25; their second engagement at Storm Stayed within the last twelve months.
They have been defined as a “cross between Miles Davis and Rage Against The Machine” with a nod to American jazz fusion band Snarky Puppy.
In the words of band leader, keyboardist Nick Maclean, “expect performances swinging between moments of quiet clarity to cataclysmic bursts of energy, worthy of a crumbling galactic empire.”
Adding to that attack of a ‘galactic empire’ is Jay Yoo on electric guitar, Matt Gruebner on bass, and Adam Mansfield on drums. Fronting the entire musical onslaught are the Ali brothers, Brownman on trumpet and Marcus on tenor saxophone.
So, what is it like for musical siblings to perform and record together? Marcus Ali tells me, “He’s five years older than me, so I was in high school when he was in university. We played tunes around the house, but by the time I got out of high school, we were starting to gig together and eventually began getting calls to play as a ‘horn section.’ We grew up listening to the same music, so we have an instant connection.”
Marcus adds, “We are anomalies in our family. Our parents were math and science teachers. They moved to Canada from Trinidad as my Dad saw the future and wanted to work with computers. We grew up in a house that was full of music. Dad listened to a lot of classical and calypso and loved Baroque music. My mother loved Sarah Vaughn, Nancy Wilson, Joe Williams and Count Basie, so we had all of that music ringing in our ears.”
So, here’s to parents!
(Photo Credit: J. Bruce Parker.)
It was also the ether of the Canadian airwaves permeating the Ali household, specifically station CJRT FM, which offered the music of Moe Koffman and the Boss Brass. The brothers absorbed it all.
Band leader, Nick Maclean, began as a music student at Humber College. In his fourth year, he was required to create a recording project and the essence of ‘Snaggle’ was born in 2012. Over time, the band has evolved and expanded. Nick refers to the current lineup as his “dream team” wound up tight with a “ton of synergy.” And it shows!
Nick tells me, “Inspiration was from my grandfather. He wasn’t a musician, but he introduced me to jazz. He introduced me to Louis Armstrong, Fats Waller, Glenn Miller, Duke Ellington and Count Basie. My high school years were filled by listening to all that. When I got to Humber, I discovered more modern jazz bands which directly affected the sound of Snaggle like Weather Report, Brecker Brothers, electric era Miles Davis, Return to Forever and the Mahavishnu Orchestra. One of my big touch stones is Herbie Hancock.”
(Photo Credit: J. Bruce Parker.)
Now there is a musical pedigree!
Describing them as an ‘up-tempo jazz fusion band’ does not do them justice. Tight? Like a Ludwig drumhead! They do not proceed with caution, but rather digging a groove and working it like a coal mine.
Composer, arranger, producer of Browntasauras Records and trumpet player, Brownman Ali embraces the work of the electric Miles Davis era. He is a protégé of the mighty Randy Brecker, who referred to him as “One of the next great voices in the new generation of jazz improvisers.” Adding to the natural sonics of the saxophone, Brownman often incorporates the Boss ME-50, a pedal unit designed for electric guitars. With the added effects of modulation, reverb, echo and delay, his sound becomes stratospheric.
Guitarist Jay Loo does not get lost in this brass onslaught. He cuts through cleanly, given ample opportunity to stretch out his skill and musical legs on his Fender.
In the rhythm section, Matt Gruebner on five-string bass initiated several songs, bringing his melodic sound to the forefront.
Rounding out the rhythm section, drummer Adam Mansfield holds it all together. No drum solos, just great timekeeping, locking it all in.
On this tour, the music is inspired by the writings of American science fiction author, Issac Asimov. So, without hearing a note, I am a bit lost. Outside of ‘Star Trek’ and its many incarnations, I am not a huge science fiction fan. The only Asimov book that I own is his guide to the works of Shakespeare. Yes, he actually did write that.
Nick Maclean tells me he was introduced to the writings of Issac Asimov by Brownman. Being a science fiction fan, he connected immediately and eventually read all fifteen novels of Asimov’s ‘Foundation Universe.’ The huge anthology tells the future of humanity and the rise and fall of the human galactic empire.
Nick explains, “Things Asimov was writing about in the 1950s, we are starting to deal with now, especially the rise of AI. I find it all an incredible and fruitful source of inspiration for composition. So, all of the compositions that we are playing on this tour and that we will be recording are inspired by places, people, events, and ideas from those 15 novels”.
The song, ‘Twilight of Civilization,’ begins as a plaintive call from Brownman’s trumpet. It quickly grows into an aggressive pedestrian strut, backing down somewhat when brother Marcus brings in the voice of his tenor. It rumbles along, very tough, very urban, but surprisingly, very softly, reminiscent of the theme of loneliness and marginalization of American composer Aaron Copland’s ‘Quiet City.’
‘Lonely Man Robot’ seems to summon the tenderness of Chet Baker’s trumpet with Nick carefully meandering on his Rhodes keyboard in quiet contemplation.
Science fiction, like jazz, can be considered a niche genre. Both have fans which are vast and loyal but tend to scamper into the sanctity of darkness when illuminated. So maybe it makes sense to blend the two. I mulled over this notion while studying and forgetting the sequence order of my beer flight.
Their two sets were made up of entirely original material: no covers.
Snaggle, at this stage in their musical evolution and on this tour, retains the essence of jazz fusion from the 1970s and, with the help of Issac Asimov, propels it into the next century. Their sound is big, bold, engaging, and tough as nails.
Every single city around Canada has people/bands that you can consider “Canadian Rock Royalty”. Sarnia has MaxWebster/Kim Mitchell, Hamilton has Tom Wilson/Junkhouse and Teenage Head, Toronto has RUSH/Rheostatics/Triumph, Vancouver has Bryan Adams/54-40/Bif Naked, and London has Demics, Helix and 63 Monroe! As mentioned in previous reviews, I am a local sound engineer, so I have gotten to work with just about every local musician at some point, and the one artist that has always left me awestruck was Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.
Mr. Bentley was the former manager and/or owner of three great London Venues, Key West, Big Bobs and the Electric Banana (the latter being where I got to see Seattle band “Hole” and meet Courtney Love et al) and he was also the creator of the “What’s the Poop Awards” which at best was a tongue in cheek look at the “best” London had to offer in entertainment. Every time I worked with ’63 Monroe, I was impressed by Steve Stunning’s towering presence, sometimes partially dressed in drag; they were the reigning kings (queens?) of Glam Punk, born of the 70s with one foot always firmly planted there.
(Pictured: Scott Bentley, aka “Steven R Stunning” of ’63 Monroe.)
So now in 2025, I was asked to review the LP by Scott Bentley’s latest project, “Stunning”. At first glance, it’s a supergroup of London area musicians including the aforementioned S.R.S., plus rock solid drummer Brad Lavard (Twin Fin, ’63 Monroe), the low-slingin bassist extraordinaire Oscar Macedo (Rizdales, Rumblebees, Burnt Reynolds) and on guitar duties there’s Tim Thompson (Ugly Stepsisters, ’63 Monroe, Aces Wild) and Paul Sguazzin (Freekshow, Before the Damned), with all joining in on vocals throughout.
On deeper exploration of their debut album “Fukk you Rock n Roll, I love you”, this album is a total love letter to the late 70s groups that revolutionized music at the time. All over this record are little nods to power pop, punk rock, glam rock, and then some straight garage rock, paying tribute indirectly to bands like Iggy and The Stooges (who actually gets a mention in one song), Sex Pistols, Ramones, Cheap Trick, MC5, The Cars and New York Dolls with an added tribute to the King of Rock and Roll himself, Elvis A Presley (“Elvis” on side 3)!
This album is super fun. It’s something I could hear the cast from “That 70’s Show” spinning in the basement after getting colossally stoned and ordering too much pizza! A bunch of kids sitting on the floor, records scattered about and the scrapes and scratches on one cover from where the last hash joint was twisted up, with everybody looking and feeling cool. But this is not the 70s, and the musicians on this album are far from being kids, most of them having raised kids now, though it doesn’t slow down their ability or willingness to ROCK THE F*** OUT!
The musicianship is phenomenal, and Steven R Stunning himself, the band’s namesake, has not lost a bit in his voice over the years. As I mentioned earlier, he towers as a “6’3” mean ole rocknroll (sic) machine” and carries a larger than life presence on the stage. I’ve seen all of these guys somewhere at some time in the past, and I know them to be monster players in whatever units they were in. As Stunning, they bring together all of the best parts of their time in the other bands and add it to what may be akin to a big old rock and roll melting pot.
I like all of these songs; they are mostly fun romps to party to, though some with serious themes of revolution and making change in the world. A standout for me is Loaded and Lonely, which features the voice of Tara (aka Mrs Stunning) dropping the line “Whatever!” which oozes with sarcastic sass! It’s essentially a pop-punk version of Billie Eilish’s now-iconic “DUH!”. Because I know Tara and knew her voice, I accidentally spit out my drink laughing when I first heard it. It’s a fun song overall.
Two cover songs also made their way onto this album in the form of the Ginger Wildheart & Courtney Love collab called “Honour” and UK’s “The Subways” banger “Rock n Roll Queen”.
The other big highlight for me is the excellent album closer and title track “Fukk You Rock n Roll, I love you”. The song is pretty much about kids with a dream to make rock and roll an integral part of their lives, doing whatever is necessary to be around it. It’s a tribute to all of the shows thrown together with several bands to share the wealth of an audience, the little venues that dared to welcome punk rock onto their stages for the first time, the vans that took them from city to city breaking down constantly, the fans that showed up and made it all worthwhile and even a little shot at the classic grumpy sound guy character. That’s all neatly packed into this one little song.
This album is a solid offering at 18 tracks over 2 LPs, one of which is a picture disc of a Pepperoni pizza! Just over an hour of total play time, which is best listened to very loud!
This Rock and Roll adventure gets 5 out of 5 on the pizza slice scale. To quote Steven R. from “Night Eater”: “Live fast, Rock Hard and don’t let those bastards grind you down!”
NOTE: On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.
London Community Players present: Deathtrap By Ira Levin Directed by James Patterson Produced by Anita Goodfellow
A thriller about thrillers—and the deadly games writers play.
Sidney Bruhl’s Broadway career is failing fast… until a student sends him the perfect script. What follows is a suspenseful, twist-filled rollercoaster of betrayal, manipulation, and murder. Who’s writing the final act—and who won’t live to see it?
Twists. Turns. Typewriters.
The most diabolically clever thriller ever staged.
Miracle on 34th Street, The Play – Dec 4-14, 2025 Adapted by Mountain Community Theatre from the novel by Valentine Davies. Based upon the Twentieth Century Fox motion picture Miracle on 34th Street.
“This is a tale that we want to believe in, that creates a world we seem to desperately desire, free of the blatant commercialism that surrounds us, where love and decency and generosity of spirit are their own rewards. What we want Christmas to be all about, really.” So writes the Santa Cruz Sentinel of this most heartwarming holiday story. By chance, Kris Kringle, an old man in a retirement home, gets a job working as Santa for Macy’s. Kris unleashes waves of goodwill with Macy’s customers and the commercial world of New York City by referring parents to other stores to find exactly the toy their child has asked for. Seen as deluded and dangerous by Macy’s vocational counsellor, who plots to have Kris shanghaied to Bellevue Psychiatric Hospital, Kris ends up in a court competency hearing. Especially at stake is one little girl’s belief in Santa. In a dramatic decision, the court confirms Kris as the true Santa, allowing Susan and countless other children to experience the joy of childhood fantasy.
Princess Ave Playhouse, 40 Princess Ave, St. Thomas, ON.
What:Disney’s Frozen:The Broadway Musical, presented by The Grand Theatre Where: Spriet Stage at the Grand Theatre When: November 18th to January 4th, 2026 Tickets:Disney’s Frozen | The Grand Theatre
Original Kids Theatre Company presents Between the Lines, Jr.
December 5-7.
Between the Lines is an empowering and enchanting story for anyone who has struggled to find their place in the world. An outsider in a new town and a new school, Delilah seeks comfort in the pages of her favourite book, where she feels heard and understood by the handsome Prince Oliver. But as the lines between fantasy and reality begin to blur in extraordinary ways, Delilah realizes her dreams in the real world are worth fighting for.
Because this ain’t your Granddad’s Christmas Benefit Show!
On Sunday, December 7th, the Palasad Socialbowl will come alive with the 13th Annual 63 Monroe Toys for Tots extravaganza. This benefit concert will feature 13 of London’s premier Punk and Rock n Roll acts.
This isn’t just a show — it’s a movement. Every beat, every note, every cheer will help support 2025’s Toys for Tots Christmas drive. Expect dazzling performances, surprise collaborations, and an afternoon you’ll not soon forget.
Admission is one unwrapped toy or a monetary donation @ the door, so mark this day on your social calendar, grab your friends and family and head out to the Palasad and be part of something bigger than music.
The show starts at 1pm, and the last band winds it all down by 9pm. Not only is there a non-stop afternoon of music, but the venue will also feature a large raffle table, giveaways, and more.
Here is the lineup of the talent that has volunteered their bands for this all-out rockin’ event. It’s a Who’s Who of the local scene, including the hosts, 63 Monroe, Stepsisters, Disgusteen, Tuned Out, Limits of Approach, Dolly Mix, Stunning, Doppelgänger, Snede, Face Lift, Burnt Reynolds, All But Six, Def Bombs, and Turbo Tusk!
Stop by for an hour to cheer your favourite local act or make an afternoon of it and be home in bed by 10pm knowing you helped support a great cause.
Let’s make the 2025 edition of Toys for Tots the best yet!
For more information about the show, contact Steven R Stunning at stunningsrb@gmail.com
IF YOU GO:
What: London Symphonia presents The Sounds of Home.
When: Saturday, December 6, 2025, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
This weekend, After Midnight is back at The Wortley Roadhouse with special guests Jessica Blum on vocals and Anthony Borek on Bass, Friday night, McKenna Langdon on vocals and Ry Guy from Journeymen on Bass, Saturday night. Hope to see all our favourite people on the dance floor.
FRIDAY DECEMBER 5TH London Music Hall, SummerCamp Productions, Virgin Radio London, and Fresh Radio present SHAWN DESMAN – Back To Life Tour One of Canada’s most iconic pop and R&B voices, Desman has a legacy of Platinum hits, #1 singles, and unforgettable performances. From winning JUNO, MMVA, and SOCAN Awards to shaping a generation of Canadian music, his impact is undeniable. Now, after a massive 2023 comeback and 2024 smash hits like Maniac and Body, he’s ready to light up the stage once again
Christmas In The Village, Saturday, December 6, Wortley Village, London, ON.
Light up the holidays in Victoria Park, starting tonight at 6 p.m. Enjoy live local music, food trucks, and a complimentary 360° photo booth.
@OfficialFarmBoy will also be onsite, offering free hot cider samples and collecting non-perishable food donations in support of the London Food Bank.
Kids, don’t forget to stop by Santa’s Mailbox to send your holiday wish lists to the North Pole.
Special guest John Davidson, founder of Jesse’s Journey, joins us for the ceremonial flip of the switch at approximately 6:55 p.m., illuminating over 100,000 lights and filling the park with holiday magic!
Yes, I know The Beat Magazine publisher has dubbed me a local scribbler about “classical music” – but the London Symphonia concert on Saturday night doesn’t look as though it fits into that niche until you read about the organizer, the soloists, and the choir and orchestra players who will bring that stage alive with an authentic greeting of the season!
Care to glance at The Sounds of Home program?
Snow (from White Christmas) Music and lyrics by Irving Berlin. A Place Called Home (from A Christmas Carol) Music by Alan Menken. Lyrics by Lynn Ahrens. On the Street Where You Live (from My Fair Lady) Music by Frederick Loewe. Lyrics by Alan Jay Lerner. It All Fades Away (from The Bridges of Madison County) Music and lyrics by Jason Robert Brown. I Love the Way (from Something Rotten). Streets of Dublin (from A Man of No Importance), and many more classic selections from the stage and celebration.
“Classical”- I don’t know- but I DO know that this is ART MUSIC with roots in church choirs, jazz clubs, and musical theatre, carried by the colours of a live orchestra. It challenges, delights- and empathizes – and it’s brought to you by magnificent performers with roots in this community.
(Pictured: Alexandra Kane.)
Do you know Alexandra Kane? She’s a Music graduate of Western University, but also holds degrees in Communication from Fanshawe and in DEI from Cornell (I wonder if that program still exists in Trumpland?). She is a music director, singer, activist, TV producer- and you already may have witnessed her incredible work at the Grand Theatre.
If you’ve lived in this area for a while, you know Olivia Sinclair-Brisbane. Born and raised in London, Olivia began her career at the Grand Theatre in Annie at the age of 12. From Original Kids and Amabile Youth Choir to attending H.B. Beal Secondary School and participating in the Grand Theatre’s High School Project, Olivia went on to Sheridan College for Musical Theatre Performance. From there, four seasons at Stratford in Cabaret, Mamma Mia, and Something Rotten.
(Pictured: Olivia Sinclair-Brisbane and Henry Firmston.)
Henry Firmston grew up in London, where he performed in four seasons of the Grand Theatre’s High School Project (2011-2015) and for two years in Beal Musical Theatre. He’s spent the last seven seasons performing at Stratford, in shows like The Music Man, Rocky Horror, Billy Elliot, Little Shop of Horrors, Chicago, Spamalot, Annie, and Dirty Rotten Scoundrels.
(Pictured: Tiffany Deriveau.)
Tiffany Deriveau All right- not a Londoner but a Windsor-born performer of Afro-Haitian and Indo-Guyanese heritage. She has over twenty-five professional credits across stage, film, and television. She’s appeared in productions with Mirvish, Stratford, Soulpepper, Charlottetown Festival, Drayton Entertainment, and the Grand Theatre – and her screen credits are from Disney, Netflix, NBC, and MTV.
(Pictured: Trevor Patt.)
Trevor Patt is another Londoner who has been in professional theatre now for over fifteen years after his start in London with Original Kids, The Grand Theatre High School Project (‘06,’07), and Beal Music Theatre. He then went on to graduate from George Brown College’s ballet program and Sheridan College’s Music Theatre program. His versatility has amazed audiences from coast to coast and during six seasons in Stratford – Spamalot, The Rocky Horror Show, and the North American premiere of Shakespeare in Love.
And there’s a choir too – the London Gospel Collective!
Who are they? Let’s ask them:
We are a diverse, spiritual community uniting through the power of worship and gospel music.
We arrange and perform gospel songs which inspire others through messages of hope and thanksgiving. We sing to worship and connect spiritually with the City of London, particularly its Black communities. The people in the choir and the songs we sing emphasize hope and unity through faith.
Our city’s symphony, some of the brightest performing stars London has nurtured, and a cultural tapestry that will make you even prouder of being a Londoner, will be on stage at the Metropolitan Church on Saturday night. Be part of it!
IF YOU GO:
What: London Symphonia presents The Sounds of Home.
When: Saturday, December 6, 2025, at 7:30pm.
Where: Metropolitan United Church, 468 Wellington Street, London, ON.
(Pictured: Andrew Lewis, one-third of the “The Three Furies” triptych, acrylic on canvas, 37 by 49 inches, 2025.)
Andrew Lewis’s solo show “Notes from the Mindfield” opens Thursday, December 4, 2025, at TAP Centre for Creativity with a reception from 6:00to 9:00pm.
This collection of new work includes over 250 drawings, paintings, sculptures and wearables and explores the artist’s observations and ideas on the complexity of our current era.
It is, he notes, an era sandwiched between the waning of the pandemic and the rise of artificial intelligence.
The show represents a new direction for the artist. Lewis describes the creative process as more “intuitive.” The result is work that he says “reflects a fragmented world where technology, memory, and human experience are deeply intertwined.” Of note is the dichotomy between abstract and biomorphic forms.
(Pictured: Andrew Lewis, “Ms. + Mr. Squarehouse” (Diptych), acrylic on canvas, 36 by 72 inches, 2025.)
Lewis is a busy creative. His personal work exists in addition to his design/branding business and his teaching at Western University. It is an environment in which he thrives.
The artist says, “At the University, I tell students that artists or designers are like truffle pigs in Italy, finding beautiful morsels that nobody else can see.”
His personal truffle-hunting began two years ago when he came down with COVID on New Year’s Day. It affected his physical and mental health. He says, “My creative process became scrambled.”
Since then, Lewis has witnessed the insidious infiltration of AI into daily life and the resulting deterioration of creative and critical thinking. “I see young, fresh minds not having the ability to provide original ideas or thinking due to how they interact with technology,” he says.
(Pictured: Andrew Lewis, “Ultramarine Series No.3”, acrylic on canvas, 36 by 36 inches, 2025.)
His new work is an escape from the aftermath of COVID and from the pervasiveness of AI.
He began with a series of biomorphic drawings and rediscovered the joy of making images and of unplanned work that just flowed. He describes the resulting work as a fascinating outpouring of the subconscious. That’s what you’ll see at “Notes from the Mindfield”
(Pictured: Andrew Lewis, “Pills, Orgies and Chaos,” acrylic on canvas, 48 by 96 inches, 2025.)
“Notes From the Mindfield” continues to January 10, 2026, at TAP Centre for Creativity, 203 Dundas Street, London, ON.
Associated with this exhibition is an Artist Talk on Saturday, December 6, at 3:00 pm and a workshop on Saturday, December 13, from 1:00 to 4:00 pm.
Andrew Lewis is an internationally recognized Canadian artist and designer. His artwork has been commissioned by clients such as the British Columbia Arts Council, Canada Post, the Royal Canadian Mint, Perrier, Scotiabank, the Stratford Festival, Starbucks Coffee, Converse, and VISA.
For more information about Andrew Lewis and his work, visit: andrewlewisart.ca.
The Beat Magazine 2025 