Tag: interview

Classic Rock & Blues Legend Alan Gerber of 1960s Supergroup Rhinoceros Goes to The Well.

by Richard Young

An Interview with Tommy Solo. Recorded July 23rd from his home in Val-David, Quebec. 

Alan Gerber is most famous for his tenure as lead singer and multi-instrumentalist with the classic psychedelic rock and blues band, Rhinoceros. He has released multiple solo albums, both as a signed and independent artist since then. Having shared stages with Bob Dylan, B.B. King, Van Morrison, Lou Reed, and Janis Joplin, among others, he is a well-respected legacy artist for the ages.

And now, he has a brand new album out called The Well and a new single called Put Back My Heart. On this release, he is reunited with Rhinoceros guitarist Danny Weis, along with the late Michael Fonfara, who recorded his Hammond B3 organ parts for this album prior to his passing.

And this time, it’s also a family affair featuring his daughter Hannah on vocals and his son Eli co-producing and playing some guitar on the album. 

The following is from my recent Interview with Alan. You can watch the Interview on YouTube: https://youtu.be/S2-kVaBII7g?si=HrpGbM48YBJLbMbJ

So, you have a brand new album out. And I kind of lost track of how many solo albums you’ve released. I believe there are over 10 right to date? 

“We’re 13, 14, 15, or something like that, right? “

Yeah. And was one of those in French?

“Well, some of the songs were in French. Okay, okay, I had a single, you know, I had some songs done in French, but most of my stuff is in English, although I’ve lived in Quebec, I believe, like 37 years.”

So, it’s quite the transition from living in Chicago and LA to being in a small town in Quebec, and from what I understand, you’ve become a big part of the community as well. 

“Yeah, I love this community, you know? Like I said, I’m from Chicago. I lived in LA, and I lived in New York. I lived in Vermont. We had a house in the south of France. But this little town of Val-David is where I’ve lived for the longest, for like, 30, 37 years. It’s my longest home.” 

There must be some magic in the air that keeps you there.

“It’s a wonderful town. It’s a small village of between five and six thousand people. There’s so many artists. It’s unbelievable here.” 

You know, there are some hotbeds of talent in small towns. I grew up in North Bay, Ontario, and I’ve lost count of how many top-shelf players we had there, and uh, a good friend who I went to school with was John McGale.

“I’ve played with John”

You played with him? 

“You know, just a little bit. Yeah, I know, John. Yeah, he was a great player.”

He was a great guy, but he’s just one example of some of the awesome talent you can find in a small place. Like where you are in Val-David, and there’s nothing like tapping into some of that talent on occasion.

“Well, you know, in this town, there’s The Potters. It’s the biggest Pottery Fest. My wife is a ceramic artist. She’s a potter. In fact, if you look at the cover of the album, The Well, the well is actually the interior of one of her pots photographed, you know? It’s pretty cool, and there are so many ceramic artists here. There are writers. There are poets and painters. It’s an amazing town.” 

No kidding. So, let’s talk about the songs on this album, The Well. There’s some interesting slide guitar on that. So, where did that song come from?

“I have a writing partner who’s unfortunately deceased now, Rolf Kempf. He wrote Hello Hooray, which was a big hit for Alice Cooper.

And you know we were running together for 50 years? And we co-wrote most of the songs on this album together. And he sent me the lyrics, and then I wrote the music, and we juggled the lyrics back and forth and changed a few things.

And that’s how the song came to be. And then, it’s such an appropriate title for the album because this is an album I dug deep to get to all these places. Yeah, and it’s about growing deep into your creativity.”

Yeah, and listening to the album, you certainly did that. I imagine this one took a while. Are you really quick with this stuff, or did it take some time? 

“It took a long time because of Covid, and because actually I was waiting for my son, you know, my son, Eli Gerber, who I co-produced it with.

And he’s playing guitar on the track Over Again. That real shredding, you know? He’s quite a guitarist. He was supposed to do all the guitars on the album, but he’s a physicist. And he’s really been so busy with his research. And he just never could get around to doing it. He wanted to, but he couldn’t. And I waited for him for years. 

And then I finally said, listen, I want to finish this album, and I got Danny Weiss from Rhinoceros, who’s also an amazing guitar player, and Danny played on eight songs. He is an absolutely amazing player, you know?” 

Had you been in contact with Danny over the years, or did you reconnect for this album? 

“Yeah, you know, we did a Rhinoceros reunion. I don’t know, well, I think maybe it was 2013 or 2014. We played the Kitchener Blues Festival in Ontario. It was very cool. Yeah, there are some partnerships, you know, and there are some connections that you have that are just so strong. It was, like, Michael Fonfara. Right, he’s played with me on my last six CDs. Unfortunately, he’s gone. We’re losing too many. He was a great Hammond B3 player. Great, you know, just amazing. A great friend.”

I know that you’re in the Montreal area, but Michael Fonfara was hugely popular in the Toronto area, in that circuit as well. Yeah, uh, so On a Roll. What inspired that song? 

“I got the idea. I wrote the music. And I had On A Roll, and then I started fitting some things in, and I wasn’t happy with where it was going. So, I ran it by Rolf. Okay, and I have another friend whom I write with, Patrick Wiggins, who lives in Florida.

He’s out of Tallahassee, Florida. I ran it by both of them, and we came up with it between the three of us. We came up with all these really cool lyrics. It’s a great song. It’s a great positive song, and there’s a lot of darkness on this album, too.

You know, Subjects? It has something to do possibly with the world we’re living in. And this is a beacon of light on a roll.”

(Photo Credit: Luc Robitaille.)

I really like the harmonica playing on that. Are you playing the harmonica?

“That’s the amazing Jim Zeller. We were musical partners for a while. We were a duo here in Quebec.” 

I am familiar with that name. Yeah, absolutely. There’s a great sax on Mysterious from the new album. 

“Yeah, that’s Dan Martell. He’s incredible. He did all the horn sections, just him with different saxophones, and the parts are just killer. He’s a great player. He’s a great soloist. He’s a brilliant composer of horn sections. He’s just wonderful, you know?” 

I find that good sax players are often some of the more melodic players, really. You know, you can generally hum or sing a sax part, and I find that some of the best guitarists actually emulate the sax. 

“Yeah. Yeah, me too. Amen, Sax! The saxophone has to be vocal. It’s really like a voice. Saxophone is like a voice that’s like singing.”

Yeah, it certainly is, and, and uh. You know, the really talented players certainly do emulate that, that’s for sure.

“Right from the opening of Put Back My Heart, it grabs you immediately. It’s so super funky and right on.” 

Makes you stand up and pay attention, that’s for sure. Right? What about the track from this album called Ghosts?

“Ghosts is my Covid song. Okay, everything was shut down. You drive down the Main Street of your town. All the shops and everything were closed because of Covid. It was like a ghost town. People became like ghosts. No interacting together you know, because they weren’t supposed to. We became like ghosts.

You know, I’m that typical guy. Um, I was a lifelong musician, and during Covid, I thought, what am I going to do? You can’t go outside, you know, you can’t do anything outside of the house. And over the years, I shared the stage with and met a lot of our Legacy artists here in Canada, so I thought I’ll bet you if I called David Henman from April Wine, he’d be home. You know if I called Ronnie King from the Stampeders, he’d be home. We’re all home, so I started this podcast with the idea of trying to give people something to smile about in such a dark time because it was just? Man, it was hard. You know?

I mean, you couldn’t even go to the grocery store. I was almost having panic attacks. You know when somebody stood six inches too close to me. I was, like…”

Oh man, oh yeah, because they didn’t understand it. And so, when you don’t understand something, it’s dangerous. Big fear comes in, absolutely.

“Yeah, yeah, my wife and I were the first COVID cases in the Laurentian Mountains. We’d been visiting our daughter, Hannah, who’s singing with me on this album. We were visiting her. She was doing her Master’s Degree in Paris. And we were visiting there in March. That’s just when the global pandemic hit. 

Just when I was starting, we knew there were cases of COVID, but it’s, they said there were only like 10 cases of COVID in all of France, so we figured, you know, we were going to go visit our daughter, and we went, and everybody was sick. And we ended up getting it.

We ended up booking tickets and leaving two days earlier because they were going to close down the country. We just wanted to get home, and as soon as we got home, I started getting symptoms. And then my wife, Robin, started getting symptoms. We were the first victims of COVID here in the Laurentians. And people, you know, were afraid. People didn’t want to see us out on the street. The police would come and make sure you stayed inside. It was, it was very scary. 

This album, The Well, you know, I was really needing something to do. I needed my creative outlet, so I was writing all these songs, and I started recording the album.”

If there was a silver lining from Covid, it was all the artistic productivity that came from it. You know, I mean, so many good things came out of it musically. Um, and I know that the first time I played live after they said it was safe, it was something else. We played at this Rib Fest in London, and there were, I think, 14,000 people on site. I don’t know how many were paying attention to me, but man, it was like just being born again, you know, and just having. Like, ah, it was such a breath of fresh air to actually be able to sing and play for people again.

“Oh yeah, I know, I know.” 

Yeah, but that said, back to you. There’s some really great stuff on this album, you know. Yeah, it is something else. I know you’re starting to get some spin on the radio, which is always nice. And are you gonna tour to promote this album? 

“I have a show coming up at the beginning of August, just right in my town. Beautiful! A beautiful place outside, the Pottery Festival site outside, it’s just an incredible, beautiful place. I’m going to do a show. August 5th. But mostly, I’m working on publicity with Eric Alper. I have lots of interviews. And you know, I figure this is what I’m doing at this moment.” 

Yeah, and you’ve got the hardest-working PR guy on the planet on your side. 

“Yeah, he’s wonderful. I don’t think he sleeps. You know, I think he just goes 24-7.”

Um, with all that said. Your new single Put Back My Heart is an awesome, awesome tune. I know that a lot of this came from COVID, but was there something specific that inspired you with the idea for this? There’s one line that really got me, uh, ‘like a baby grand from a tower I fell for you, like a baby.’ That’s a great one. I don’t think anybody else would have ever come up with that lyric. You know, that’s. That’s brilliant. 

“I wrote most of the lyrics myself. But, but some of the lyrics were with my son Eli, who was too busy to do other guitars, but he was still co-producing with me, and he said he had some great ideas, and like he has a few great lines.

That’s a cool song. Yes, absolutely. Let me tell you how I wrote this. Okay, fortunately, it was not inspired by my own personal experiences. It’s just a situation, isn’t it? It wasn’t my situation, but I just got the idea. This was the end of the Pottery Festival, the big Pottery Festival 2001, pots in God.

I was helping my wife, Robin, take down her pots and bring them to the van, and I was doing wheelbarrow trips, you know, from her table to the van? And I just started getting this song in my head, heard the music, and I started getting all I had lines like I fell for you, like a painter, and I would stop and write some of these lyrics down.

And then I went home, and I finished it really quickly. But it started with a wheelbarrow full of ceramic pots. It’s funny how that can happen.” 

I want to go back to Rhinoceros if we can. Yeah, there were three albums, with Elektra, right? How did the band come together in the first place? 

“I can tell you my story. I had a girlfriend. The first love of my life. And I was still in Chicago. And I was going to the Chicago Musical College at Roosevelt University. And she was at NYU in New York studying film photography. And when I went to visit her, I always brought an acoustic guitar with me.

She had a friend who works for Variety magazine. And he knew Paul Rothschild, the producer. He produced Janice Joplin’s Pearl, and he produced the Doors. He produced Paul Butterfield’s East Meets West, for example.

And she told him that I was just great. I had great songs. I was a great singer. And the guy from Variety told Paul Rothschild that he heard me play and that I was incredible. I had great songs. I was a great thing. And then he told Katie, and I had an interview that morning.

(Pictured: Paul Rothchild.)

I wasn’t a big Doors fan. Okay. I wasn’t that familiar with Paul Rothchild. I went to the Elektra Records office in New York for an interview with him, and I met Paul, and he was this guy that had long hair, you know? You know, hippie, dippy, like me, where I came from in Chicago, who was my whole clan, you know, all my friends. I came from a very 1960s. Hippy dippy environment, and there was Paul, and he was right on.

He could have been my buddy there at least the way he looked. And he was really nice. Before he even heard a song, a single note, we sat and talked for almost an hour, and then he said, let’s hear some songs. And we went into a room.

There’s a piano, and I had my guitar, and I started playing songs, and he loved them, and he kept telling me boy we got to play that again, and he’d call somebody in, and he kept calling people in at the end of this. And we were smoking this blonde Lebanese hash that was like from outer space.

And, and by the end of this thing, I was on the moon to imagine, you know, it was, it was just really nuts, and he said to me, Alan, I want to produce you either as a solo artist or with this super group that we’re putting together at Elektra Records.

And he told me about the super group; they were picking people, and it sounded really cool. I said, well okay, let’s try this super group. And he said, okay, that’s how we’ll do it. And sure enough, afterwards, you know, I was so stoned from the hash, I could barely find my way out of the building.

After that, he called me at home in Chicago, and he was, you know, he had my airplane tickets. And I had to make the decision to give up my 2s deferment in college, you know, it was the Vietnam War, and I had to confirm.

So, I made the decision, and I said, well, I’m going to just do what I want to do. I’m going to follow my dream instead of acting out of fear. I’m going to follow what I want to do, and I did. And I went to LA, and Paul had 14 musicians in his living room. We were passing around the guitar, playing tunes. To make a long story short, it was divided into two groups of, like, seven people. And out of all those people, only three of us remained in the group. Doug Hastings, John Finley, and me.

That was it. Nobody was told to leave. It was cool and casual. Nobody said, you’re done. Get out of here. Everybody just felt everybody left on their own accord, and they found this isn’t for me. So, it was organic in that way. You went in every other way. It was, you know, really put together, but it was organic.

I mean, the people left. And there were three of us left, and we met Danny Weis. He just knocked our socks off, and he was from the Iron Butterfly. It just went from the Iron Butterfly and then Jerry Penrod, a bass player. He was also with the Iron Butterfly. 

And he became our bass player. Danny was one of the guitar players. And then we needed a drummer. And we tried Buddy Miles. And we tried Billy Mundi. He was from the Mothers of Invention. You know, Buddy Miles was from the Electric Flag. Yeah. And Michael Fonfara was also from the Electric Flag, and John Finley knew Michael from Jon & Lee and The Checkmates in Toronto.

And, uh, anyway,  we got Michael, and we took Billy Mundi, and there it was. And then we were rehearsing. And Elektra Records was calling it Super Group. And finally, I said, listen, you know, I’m talking to Jac Holzman and to Paul Rothchild and I said we can’t call this band Super Group you know. We’re not going to want to walk out on the stage calling ourselves Super Group. I had then and still have to this day a collection of Rhinoceroses. You know, I always loved Rhinos. And I said call it anything else but Super Group.

I said, let’s call this band Rhinoceros. “

(Pictured: Rhinoceros.)

That’s funny. I thought all along, I thought you were just alluding to the fact that they were going to advertise Rhinoceros as a supergroup. But they were actually going to call the band Supergroup? Really? I never really got along with the guys in suits. You know, I was offered a record deal when I was 23. And I turned it down because I never got along with the guys in suits. Things might have happened for me if I had been a little bit more open to what they were offering, but I just felt like they’re always trying to rip me off. 

“Well, I got ripped off big time when I was 20 years old, man. Yeah, right, I signed away most of my publishing.” 

So, that’s all very interesting, you know, this whole they were going to call it Supergroup and all that. And then, you just kind of blurt it out. Let’s call it Rhinoceros. So, what happened after Rhinoceros?

“I was really disillusioned as you were, with the music business, you know, music and creation and doing shows; it’s been my life. But I was really disillusioned with the music business. I refused all kinds of stuff. I was offered to do all kinds of stuff. I was offered to work with all kinds of people. When people say, how come Alan’s not a big megastar, Robin, my wife, says, because if you saw the list of people he said no to, you would understand.

I was disillusioned with that. And then, before too long, my wife and I moved to Mendocino, California, way up North. It’s like 3 hours north of San Francisco. We lived in the country.

I was shell-shocked after Rhinoceros, and then I started playing gigs. 

We moved up to the country, and I was playing again, and then I met somebody in LA who loved my music and wanted to manage me. And he was a wonderful guy, and he was pretty well connected to the music business, and he took me to all the record companies. 

These were the days when you could go into the president of the company’s office and play a few tunes. And I played for everybody. I eventually signed with Shelter Records with Danny Cordell and Leon Russell; that was their company.

I signed with him, and I made my Shelter album. It was called Alan Gerber’s Album, and it looked like a photo album with a beautiful cover. Beautiful stuff! 

And I did it in Memphis, Tennessee. My band for this project was like Booker T & the MGs band. I had Duck Dunn on bass and Al Jackson on drums. Steve Cropper was engineering. It was incredible. I had the Memphis horns. I had Gloria Jones and the old Raylettes singing with me. I don’t know if you’ve heard any of this. But check it out when you get the chance.

It’s Alan Gerber’s Album on Shelter Records. Very funky, so I did that and then lo and behold, I had business troubles with them.

My single from that album was a big hit on Billboard, Cashbox, and Record World. My album was getting played like crazy on all the FM stations all over the United States and in England. 

Anyway, there was no distribution. You couldn’t buy my album anymore. Shelter Records was distributed by Capitol. And they had some disagreements because Danny Cordell was Joe Cocker’s producer. And they thought when they got Leon Russell and Daniel Shelter. They were gonna get Joe Cocker, too. And lo and behold, Joe Cocker signed with A&M.

I believe it was A&M. Anyway, he signed with somebody else other than Capitol Records. And they were pissed, and so the distribution was not very good, and my album wasn’t in the stores. And so, how long are they going to keep playing it on the radio if the album isn’t in the stores? 

I was doing live shows with a great group. I had Danny Weis, Michael Fonfara, a great drummer and bass player, and we were doing shows with Leon Russell.

I was doing shows in New York. We were playing at the Bitter End on Bleecker Street in Greenwich Village, and we were held over for an extra week, you know, and everything, but you couldn’t buy the album in New York.

And so finally, I was really pissed, and I told Shelter Records I’m done. I found a lawyer to help me. And they wanted me to make another album for them, and I refused. And we went to court; it was just really unpleasant. You know, and so after that, I really got turned off by the music business, and I started doing my own thing.”

When it becomes a job. Instead of a passion, there has to be a line drawn somewhere. Uh, 13 odd albums, solo albums later. We’re here with The Well, here we are. Yeah, and the track Over Again. That’s the one that your son played guitar on?

“Yeah, he actually- I’ll tell you a story, you know- he wanted to do all the guitars. He had a little window of time, and he started putting together ideas for the song. He put together the idea. And he recorded it at really high quality at 96 kHz using Reaper. It was really well recorded on Reaper.

And, uh. He sent me the idea. He didn’t get to finish it, according to him, but I took what he sent me, and I stuck it in the track. And I said this ain’t no demo. This is not an idea. This is the guitar track, and you listen to it, and there’s no doubt about it.”

It’s brilliant. Yeah, and he comes by it. Honestly, you know, I’m curious now, because you have a son and a daughter who are both top-shelf musicians. Did you encourage that, or did they just kind of find it on their own? 

“Well, you know, they grew up with me. And they discovered their love of music on their own. There was a lot of music in the house. We homeschooled the kids. Okay, their schooling would be done in a few hours in the morning, and then they had the rest of the day to discover what it was that turned them on.

And they just started doing music and singing. And my wife, Robin, who I told you is a ceramic artist? She also was a piano teacher, and she taught them a little piano when they were little kids. And they both just really got into music, and they came on the road with me.

For the most part, I was on the road. My wife did most of the homeschooling. She did a brilliant job with our kids, you know? Our son is a physicist now, and our daughter was working for the United Nations, and now she works for the OECD. You know, they’re quite accomplished, and they’re also great musicians, and so they came on the road with me.

It was wonderful because, like I said, Robin did most of the homeschooling. So, this was my chance of being with my kids and sharing something big with them.” 

You know, that’s some kind of special magic, I’m sure. 

“Well, I’ll tell you, we were playing the Montreal Jazz Festival once. And I had Eli on my right shredding and Hannah on my left singing with me.

And we were playing for like 14,000 people; they were going nuts. People were good, and Eli was doing a guitar solo, and he started playing with his teeth. He got so he turned the guitar; I mean he’s quite a showman. And what a thing to share with your kids!”

There’s some really interesting stuff on this album now, Diablo Square. I imagine being in a gondola in Venice. Yeah, you know?

“I have a 150-year-old button accordion, and that’s what I’m playing on that song, you know? And the clarinet player, Michel Dubeau, gets that sound from outer space.”

Yeah, it’s a really unique song 

“Yeah, I’d like to make a video for that song.”

Nice. Money Can’t Save You? I enjoyed that a lot.

“Yeah, well, that was when Michael Fonfara was really ill, and it didn’t look like he was going to be around too much longer. I went to Toronto. I was going there for a wedding, and one night we went out. I went out to supper with Michael and his wife, Adele. And I was asking Michael, what would you like, man? What if I could do something? Let’s do something really cool. And he said he wanted to make another Rhinoceros album.

I said, yeah, we could do that. Everybody throw in a few songs, and we’ll have a great time, and I ran the idea by everybody. And at first, everybody was, yeah, let’s do it. Yeah, and then one by one people backed out. So, I ended up booking the studio myself.

The studio where we recorded all the organ tracks is a little home studio owned by a guy named John Pickering. It’s called the Rhythm Ranch. And I got in touch with John because I used to go there and use Michael for my albums. And John had two Hammond B3s.

One upstairs in his living room and one downstairs in the basement studio. Anyway, I said to the guys, well, listen, let’s just go and record two of my songs.

I said I’ll pay for it. I want to do this with Michael. And so, we got Michael, Danny, John, and me together to do this. We had a really lovely drummer and bass player from Toronto. They’ve played on it. And we recorded it. And that’s Money Can’t Save You.

That was a whole different session. It was the last time I got to record with Michael. And Danny Weis and I really connected during that also.“

It’s, you know, interesting, you know, Michael may have left this mortal plane, but his legacy lives on through the spirit of his music, for sure. And this is a really good example of that, you know, and you can hear the passion, and we’ll never lose that. 

“About Michael. I was visiting my aunt in Manhattan. She lives on the 52nd floor of this building in Lincoln Center, you know, I mean, it’s really fancy, and I was coming down in the elevator. We’re staying with her in New York.

And in the elevator, there was Paul Schaefer. And we were talking, and I told him who I was and about Rhinoceros. And he said that Michael Fonfara is his all-time favorite! Paul Schaefer told me that. 

And you know when I was recording my Shelter album in Memphis? I had Duck Dunn and Al Jackson, and Steve Cropper. I didn’t use Booker T. I flew Michael Fonfara in for those sessions.”

You know, you had that magical connection, right?

And with that, I ended a wonderful conversation with an amazing musician with a legacy next to none.

Alan Gerber’s new album “The Well” is available at  alangerbersongs.com 

Look for his songs on YouTube, as well, and subscribe to his channel.

Interview Conducted By Tommy Solo

London, Ontario-based singer-songwriter & guitarist Tommy Solo has roots as a long-time SW Ont musician, having traveled across Canada & into the USA as a full-time musician.

In recent years, he has been focused on writing, recording & performing his original brand of classic rock, & sharing experiences with other legacy artists via his podcast, Tommy Solo’s Famous Friends, and on his YouTube channel.  

The Inside Outside returns to the Richmond Tavern, Thursday, June 18th

by Richard Young

What follows is a Q&A Interview with Page Graham, co-founder of The Inside Outside, a popular recurring series of “salons” that brings together the music and visual art communities in a common setting.

The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

(Pictured: Page Graham and Tami Kegley, co-founders of The Inside Outside.)

Q. When was The Inside Outside founded, by whom, and why? 

The Inside Outside was formed in 2025 by husband-and-wife team Page Graham and Tami Kegley. We saw a need to bring the music and visual art communities together in a common setting. A “salon,” if you will. Our shows consist of live music performances and arts discussion (interviews)

Q. What do each of you bring to the project? 

Page takes care of the technical and production aspects. Since she is an artist herself, Tami acts as host and interviewer. Both collaborate to develop ideas and people to invite to participate in the show.

Q. What demographic does The Inside Outside serve? 

Although unintentional, our events tend to attract a more mature audience, and all ages are certainly welcome. Not only do music and art find themselves siloed in terms of disciplines, age also plays a factor. For example, there are old-school punk bands in London as well as younger acts, and they aren’t at all integrated.

Q. In what venues do you hold your events? 

Our events are held at the Richmond Tavern, London’s finest dive bar. People who would like to come to our events should be aware that it’s clean, well-run, and safe. Oh, and the drink prices are quite fair! We don’t charge a cover, but we do pass the hat. Pay What You Can (PWYC).

Q. How often do you hold events? 

We are currently holding our events quarterly, on the 3rd Thursday of March, June, September, and December. I guess we’re roughly tracking the solstices.

(Pictured: Carol MacQuarrie. Photo by Jim Capel.)

Q. What can attendees expect from your Thursday, June 18th event at the Richmond Tavern? 

Our musical guests are Carol MacQuarrie and Chris Mittleholtz, who represent one half of folk group Myrtle Earle. Chris is also a renowned punk guitarist, but this will be an acoustic show. Local artist and gallery owner Jim Telfer will be our interview guest. He runs Splash Fine Art and Jewelry Gallery on Richmond Street, just south of the CN railroad tracks. There will be a visual display of his artworks; he specializes in larger-format abstract representations of animals, primarily sea creatures, and he uses mostly found objects such as driftwood. In September, our musical guest will be Allison Brown, who will likely bring another performer to join her. Our arts guest is still TBA.

(Pictured: Jim Telfer’s “Toulouse Peacock”. Photo by Page Graham.)

Q. How can our readers learn more about The Inside Outside? 

Currently, the best option is to follow our Facebook page (insideoutsidelondon.ca). We have a website of the same name, but it is currently dormant.

Q. Do you have any general thoughts about London’s arts and culture scene/community you would like to share? 

That’s an easy and difficult question to answer all at the same time. Since I’m a Western grad from decades ago and then went abroad for many years before returning, I find that Londoners tend to be overly negative about our city, and that includes the arts.

That simply isn’t true. This is a fine city. People should take pride in it. How many other cities have a Music Week with awards shows, for example? On the other hand, the music community gets much more attention than the visual arts because it’s out of balance. Our music situation is just fine, but instead of continuing to focus on it constantly, the spotlight needs to be shared with the visual arts and literature. In addition to being known as a “City of Music”, we should also be known as a “City of Arts”.

It started with the Velvet Underground: London’s Betamaxx

by Richard Young

By Bob Klanac

(Betamaxx Members, Left to Right: Jaq Inglis, drums, Sookie Mei, bass, backing vocals, Mark Ordas, guitar, backing vocals, Kathy Quayle, vocals, Simon Goodwin, keyboard, vocals.)

About six years ago, a friend of Simon Goodwin gave him a nudge with the idea of starting a Velvet Underground cover band.

Fresh out of the London theatre scene, Goodwin shrugged and started putting together what became Venus in Furs. It was fun, but after a few jam sessions, they put the band on hold. Soon after, an invitation to play at a friend’s summer party brought them back together.

A funny thing happened at the party. The crowd loved them. And the band was wowed by the response.

“I was surprised,” Goodwin laughs. “We just played some private parties, but we were just goofing around.”

It was all just goofing around until Goodwin and others in the band realized they had something.

Bassist Sookie Mei recalls that at some point, “We were just like, jamming in someone’s basement and then decided to try and make it go as a band. And we ended up expanding the repertoire to be more 70s and 80s stuff.”

Goodwin adds that “It’s a lot of work to go through from pulling together some songs for a party to being able to do a full night’s material in a bar.”

(Photo Credit: Paul Latorre.)

But work they did, going from a year as a four-piece to a five-piece before adding trained theatre performer Kathy Quayle as their frontwoman. As a singer, Quayle is incandescent, her limbs flying in time to the music with every moment rehearsed and every moment real. She is the visual lynchpin that, to borrow a quip from The Big Lebowski, ties the band together.

Before Quayle grabbed the lead microphone, Goodwin admits, “It was kind of difficult for me to be the only singer to carry out the whole thing.”

“So, having Kathy come and take a bit of a share of the vocals? It’s awesome, she’s awesome. And everyone loves her.”

Mei doubles down on what Quayle brought to the band. “It’s great to have a front woman who’s not behind an instrument, you know, who’s engaged more with the audience. And she’s dynamic, and great to look at, you know?”

So now they had a band, but given that their repertoire had drifted from its Velvets roots, they had to come up with a different name. They had started with Venus in Furs as their nom de plume, but the focus had shifted, and they needed to find another name to hang on their shingle.

Mei recalls they came up with a ton of band names, and all of them were taken already.

“We were trying to think of something that conveyed the 80s, with a nostalgic feel, but also cool. So, we decided on Betamaxx with the extra X.”

“That was one of the ones we thought wasn’t taken, but then it turned out there’s actually a DJ out of Poland and a band in Southern California that had the same name!”

Mei laughs and adds, “So we’re just not original, which is fitting for a cover band!”

Betamaxx’s focus on 80’s music wasn’t accidental. Not entirely.

Goodwin admits, “I kind of pushed it that way.”

“Well, because we were doing, like, late 70s, early 80s songs, I kind of said, well, let’s, let’s do a new wave thing because there’s no one else really doing it. I looked around, and there was only one other band covering that niche.”

“Besides, it was the music of our youth for the most part. And the band very happily went along with it.”

So, with a set list of three, the newly dubbed Betamaxx set out to do some gigging around town.

“I think the first was the Richmond Hotel about three or four years ago,” recalls Goodwin, “and we’ve just kind of grown since then.”

Goodwin understates things a tad. Betamaxx shows at the Richmond are wonderfully intimate, with a roiling crowd of dancers pushing the edge of the dance floor until even those at the crowded tables are bouncing along with the relentless beat.

“Yeah, I am surprised,” admits Goodwin. “It’s lovely, you know. We just kind of, you know, found a niche as I suggested, and uh, you know, there’s a lot of people that are in our kind of age range.”

Betamaxx is a generational rallying call, a gathering of the tribes, people who have their lives back after some years of establishing a career or family.

The band explores big hits by The Cure, the B-52s, and obscure one-hit wonders by Alphaville (Forever Young) and Peter Schilling (Major Tom), former 80s earworms that hit the nostalgia note before they hit the cerebellum. You all know these songs, whether as an obsessive fan or just having been an 80s kid.

Mei agrees, adding, “I believe people love the music of their youth, and the 80s were a huge decade for music. People of all ages seem to enjoy 80s music.”

“We’ve got people our age and older who love it. We’ve even got young 20-somethings who are into Betamaxx, and it’s the 80s music that is the key. The second thing is, we’ve got a really great band.”

According to Goodwin, it’s not just a coincidence that they’ve grown as a band. It’s also an attention to detail that he’s pushed on the band.

“We work really hard to sound like the recordings, the original recordings, because I think people really respond to that quality. I think that helps.”

Mei notes that their success has been recognized in a somewhat tangible fashion, given that Betamaxx snapped up the Best Cover Band honours at last year’s Forest City London Music Awards.

“Yeah,” she says sheepishly, “we’ve definitely risen up to  London greatness!”

Mei muses, “You know, it’s wonderful to look out into the audience and see people from all different walks of life. You know, we’ve got young people, we’ve got various people identifying with different genders, and you know, working class, white collar workers, or whatever.”

As for what’s next, Goodwin concedes that with the band all having day jobs, it’s really more about the fun than the money.

“People have asked us if we’d like to go to Windsor or wherever, but we’re not really interested,” he says flatly.

“We just kind of take gigs of convenience or anything we feel like we want to play.”

This summer, those gigs include Pride London’s mainstage, Ribfest and an upcoming slot at Old South’s Wortley Roadhouse.

“We’re also doing a Hamilton Road block party and something for the Forest City Music London awards as well,” Goodwin explains. “So, we’ve got a lot of little kind of showcase shows like that over the summer. And that’s right up our alley. That’s exactly the kind of stuff we want to do.”

Upcoming Betamaxx Shows:

July 4:   Wortley Roadhouse, 9pm-1am

July 18: Hamilton Rd Block Party, 2-3pm

July 19: Pride Festival, Victoria Park, (Date and time TBD)

July 31: Ribfest, Victoria Park, 7:30-9pm

Sept 26:Richmond Tavern, 3-6pm

Follow Betamaxx on Facebook https://www.facebook.com/share/1BTKY5MTRv/

By Bob Klanac

Bob Klanac is a London-based music journalist who has penned hundreds of reviews and interviews. He was a juror for the Polaris Music Prize, a member of the Slaight Family Polaris Heritage Prize Jury and a Juno Awards juror. Bob has also penned two books, Promo Man about London’s late music legend Nick Panaseiko and Shooting Stars, Telling Tales, about photographer to the stars photo-journalist John Rowlands.

Q&A Interview with Patrick Brennan, Author and Director of The Family Creetin.

by Richard Young

What follows is a Q&A Interview with Patrick Brennan, author and director of The Family Creetin, playing at the Procunier Hall at the Palace Theatre from April 16 to 25. The Interview was conducted by The Beat Magazine’s Publisher & Content Manager, Richard Young.

Q. Tell me about The Family Creetin – backstory, author, and performance history.

The Family Creetin was born out of a few places and ideas. I was always enamoured with the golden age of British detective fiction, particularly Lord Peter Whimsey in Dorothy Sayers string of novels and the ridiculousness of self-seriousness. I’ve been writing shows since 2012 for Banished by the King and have always skewed to the less serious, more character-driven work. I like finding the fun in how characters interact. For our theatre group, we were always looking for large, gender balanced shows and the prospect of a single set, big cast, whodunnit-type show was such a natural fit. I loved giving every character the spotlight through the show, and the range of the roles was a lot of fun to play with. Just a mass of ridiculous and self-important people that played on some tropes with some hopeful plot twists, and this show is a good, fun night out.

Q. Could you provide a brief plot synopsis?

In The Family Creetin, a group of six siblings and their significant others are called home by their father, a Duke that owns a massive food canning empire, for a mysterious reason. They fight, bicker, and snipe at each other before the Duke makes known his plans, and a frantic search for a thief begins!

(Pictured: Patrick Brennan, author and director of The Family Creetin.)

Q. Does the Family Creetin have any real-life counterpart?

I have heard it said that it is Downton Abbey-meets-Arrested Development, and that’s high praise! I began watching Downton Abbey weeks before the show originally opened in 2015, having written it a year before and was shocked by how many character names they stole from me!

Q. How would you best describe the play?

The play is a comedy, though I’ll leave that up to the audience. If there’s a message, I hope it is that a bit more kindness and empathy are never misplaced.

Q. I see that the play was performed at TAP back in 2015. Why are you reviving it in 2026? Any major revisions to the script?

We originally ran the show back in April of 2015 and thought eleven years was the perfect amount of time for people to forget the story and pay for another ticket to come see it again! This script is more polished and, as with the first, improved with rehearsals. We have had the advantage of two exceptionally creative, funny, and inventive casts running through this script, and, with complete control over the material, we have always encouraged and applied suggestions and adlibbing – if it’s funny, it stays! I couldn’t be more grateful to all of the moments, small and large, that these actors have put into making the show better, rehearsal after rehearsal.

Q. Why have you chosen Procunier Hall for this run?

The space is ideal for the single room, tight quarters, crucible of the show! And it was available.

(Pictured: Rachel Sherret, Luis Marin, Sophie Thompson, and Ben Kennes.)

Q. How would you describe the sets, props and costumes of the play?

The Palace Theatre has been exceptionally generous with its set pieces, props, and costumes to make a very immersive sitting/drawing room environment for interwar England. We also have incredibly talented cast members who stitch, sew, bring props, and put a full effort into making their characters look as good as they perform them.

Q. What can audiences expect?

I would hope audiences take away some laughs, a bit of an escape, and maybe a line or two that sticks with them! Our performers, whether in the spotlight or awaiting their next line, make it a veritable Where’s Waldo of moments, faces, and bits that make multiple viewings a must.

Q. Is there anything else you think readers should know about The Family Creetin?

The Family Creetin has been so incredibly special to me personally. Not only was it my second script for Banished by the King, allowing me to work with my brother, Sean, and so many others in the group, but it was also where I met my would-be wife, Amanda. I was a self-absorbed, wannabe industrialist with an embarrassing secret, and she was a strong-willed, opinionated, in-your-face American dancer from the silent film era. A match made in heaven, and one for which I absolutely love this show. Also, there’s a sequel!

(Pictured: The Family Creetin set in Procunier Hall.)

Cast and Crew of The Family Creetin:

Cast:
Patrick Hoffer – Archibald
Sophie Thompson – Victoria
Ben Kennes – Reginald
Sue Harrington – Gloria
Dylan Rock – Frederic
Kevin Avram – Bertrand
Jennifer Groulx – Sybil
Ryan Starkweather – Roger
Luis Marin – Raul
Rachel Sherret – Mary
Nicole McTeer – Ginger
Dustin Didham – Nigel

Crew:

Directed By: Patrick Brennan
Produced By: Dan Curtis
Stage Manager: Jeremy Hewitson
Lighting Design By: Mark Mooney
Sound Design By: Doug Deschenes
Costume Design By: Tannis Daoust.

IF YOU GO:

What: Banished By The King Productions presents The Family Creetin.

When: April 16 to 25, 2026.

Where: Procunier Hall at the Palace Theatre, 710 Dundas Street, London, ON.

Tickets: https://mytickets.palacetheatre.ca/eventperformances.asp?evt=527

About Banished By The King Productions:

Banished By The King Productions has been creating original and unique theatre in London, Ontario, since 2009. Since the initial banishment, Banished has produced eighteen original works, all written by local London, Ontario, playwrights.

It all started as a dream to continue to produce, write, and act in shows after graduating from university. Many of our original and founding members attended King’s University College, and thus, once our studies were over, we became Banished By The King. Over the years, the group has morphed and grown to include the talents of many members of London’s thriving community theatre scene.

In 2024, we became the Theatre Company in Residence at the Palace Theatre Arts Commons to continue to create new theatrical productions and promote original London-based work.

Website – www.banishedproductions.ca

Q&A Interview Conducted by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

Laura Gagnon – Still a Road Warrior.

by Richard Young

In a 2023 profile I prepared of well-known London area singer-songwriter and Forest City London Music Awards recipient, Laura Gagnon, she told me, “I’m a road warrior at heart.” Since that story was published, the Port Stanley resident has kept up her busy schedule of live performances in and around London, throughout Canada, and abroad.

I caught up with Laura as she was in the throes of organizing and preparing for The International Women’s Day – Women In Music Showcase, being held at London’s Palasad Social Bowl on Sunday, March 8th.

What follows is an updated Q&A Interview with Laura about her career and the March 8th event. (The Interview has been edited for length and clarity.)

Q. Tell me a little bit about your upbringing. Was yours a musical home?

Very much a musical home! My parents are both professional musicians, and once a week, they’d have band rehearsals at our home in the garage when I was very young. The garage was connected to our kitchen, so you can imagine me singing all the tunes in the kitchen at the top of my lungs while they’re practising. Ha-ha!

Q. Do you remember the moment when you made the decision that music was going to be a big part of your life?

In our previous interview, I talked about Grade 10, but the more I reflect on my life and career, I realize it was much earlier than that. Recently, I discovered old VHS tapes of me singing and playing piano, and I could see how much I loved it. I was shy but determined! My first TV appearance was on “Rogers TV” for the Salvation Army. You can actually watch these on my Instagram account. The glimmer in my eyes really says it all.

Q. Has the piano always been your primary instrument? Do you play any other instruments?

I definitely started with piano, and then singing came not too long afterwards. It gave me the foundation for pitch and how notes worked together. The sound was beautiful to me. I then tried to learn the sax and trumpet, but that didn’t stick. Ha-ha. Then I picked up the drums. I can jam pretty well with musicians but not well enough to play a big show. I’ve recently picked up the flute, so we’ll see how that goes!

Q. What have your musical influences been over the years?

Going way back to when I was eight years old, it started with the Wizard of Oz and “Somewhere Over The Rainbow.” I was enchanted by Judy Garland. It grew into a love for Disney songs. My favourites were Snow White, The Little Mermaid and Beauty and the Beast. Then along came Alicia Keys, who introduced me to soul and a female artist who could play and sing piano. The sassiness of Britney Spears and Christina Aguilera followed, and then the range and sensitive tone of Mariah Carey really started to shape my musical world.

Q. Tell me about the various groups and musicians you have played with since you started playing professionally.

I’ve had the privilege of playing with some pretty exceptional musicians, but also some really amazing groups like the Extreme Tour, based on guiding the lost out of the dark with music. I’ve written with Guess Who Guitarist, Dale Russell (may he rest in peace). An incredible producer, songwriter and human. Gary Martin of the Touring Funk Brothers is another exceptional musician who taught me how to better connect with an audience through just one single note. These three stick out to me because they’ve had an incredible impact on my career.

Q. What types of gigs have you played over the years?

Oh wow! I’ve played festivals like CMW, VENUEXVENUE, World Fest, Ribfest and conferences. I sang the Canadian and American national anthems in France for a tree planting ceremony for the 100th Anniversary of Vimy Ridge. At MMA events, London, ON City Council, Ottawa, ON City Council, baseball games, hockey games, soccer games. Performed in Nashville at Rocket Town for an industry showcase and many songwriter showcases around Canada.

Q. Tell me a little bit about any recordings you have made in your career.

It all started with writing a song for Remembrance Day, “In Our Hearts”. I wrote it based on many veteran ceremonies I’ve sung at. I wanted to give something back to the community that had supported me for so long. Two days before their ceremony, I asked if I could perform “In Our Hearts,” and they said yes, absolutely.

Now, at this point in time, the song hadn’t been recorded yet, and I wanted to see if it was worth diving into, and it was. There was an overwhelming need and feeling to get this song professionally done. I recorded the song at Prevail Media Group, and they brought it to life! Fast forward a year, and I get a message in my Facebook inbox from a woman asking if I have sheet music for the song. I didn’t at that moment, but I quickly wrote a lead sheet for her and sent it off.

I asked her if she could send me clips of her singing group practising and performing it. I also wanted to come see the performance and hear them in person. I asked where they were based, and she said Australia!! Darn, that’s a bit far! Ha-ha!. But I was so honoured that they picked my song to sing for their Remembrance Day ceremony. They found it on YouTube! Thank you, Moss Vale High!

Q. Other than the March 8th International Women’s Day – Women In Music Showcase, what projects are you currently pursuing?

Right now, I’m working on a couple of singles, one to be released in about five weeks called “Blue Eyes”. It’s a soft, stripped-down, cuddle vibes kinda song. The song feels like a warm hug, chicken soup for the soul and the feeling of getting tucked into bed as a kid. I remember that feeling well. I’m really excited for this one and honoured to be working with a really amazing producer, Randy Mead, out of London. After that single, I’ll be releasing another single, then an album.

Q. Is there anything else you think our readers should know about Laura Gagnon, the musician and Laura Gagnon the individual?

Since we last chatted, a lot has changed, and it’s been an amazing adventure and gift. 2025 was a big year for me. I was signed to an indie label, Big Records World (Canadian label), signed to a Management/Booking label, Grace Musicians Management Group (NYC Label), and toured the United States performing and helping the homeless with a group called The Extreme Tour, as I mentioned earlier. I’d like to expand on “The Extreme Tour” because it was the pivotal point of my career. It took me out of business mode and reminded me that I’m an artist and I have a bigger mission than just playing show to show, hoping to increase my followers.

I forgot to connect with my audience and be warm for them, be gentle with myself. I forgot that silliness is okay and actually inspires humans to be themselves. That tour reminded me why I started this career in the first place. I think it’s our job as musicians to help, heal and be kind to those who aren’t kind to themselves. To give them permission to be themselves. When lost, you help them find their way. The amazing part about that is that, in turn, sometimes in helping them, they help you. Selflessness is the key to success. Being YOU and no one else and just showing up. TRUST. I will be going back on tour with this amazing team, but also be touring a string of shows in New York City soon.

—

The Doll House Showcase Presents International Women’s Day – Women IN Music Showcase

Q. The Facebook post for the event suggests that it has been 10 years since you have done one of these showcases. Why is that? What has motivated you to revive the showcase in 2026?

I organized and ran The Doll House, a showcase for female musicians from 2016 to 2018, which allowed me to play with many amazing female musicians like Sarah Smith, Nikki James, Carly Thomas, and many others. It was all about empowering female musicians and working as a team to accomplish our goals and being there for one another when things got tough.

The past couple of years, I’ve been asked if I’m going to be bringing this showcase back to the city by multiple musicians and showcase goers from the previous years. I thought, as it has been ten years, this would be the perfect time to bring it back.

Q. Do you have any other partners in organizing and staging this event?

I have been doing all the organizing and staging. I’ve done all the marketing, posters, video and picture promo, radio interviews, TV interviews, including setting up the flow of the artists and booking the venue.

Q. Are similar events taking place in other communities?

Yes! It’s quite amazing! Ottawa has two of them, “Girls To The Front” and “Vox Femme”, and Burlington has “Harmonia”. I know of many others, but those are the ones that stick out in my mind. I’ve performed at two of them.

(Watch Laura in this segment from Roger’s TV What’s Up London https://www.facebook.com/share/v/18MR5Ubrsv/)

Q. Where are the proceeds from the event going?

Most of the proceeds are going towards My Sisters Place – a vital London, Ontario charity operated by CMHA Thames Valley that provides a safe, welcoming centre and essential services for women experiencing trauma, mental health challenges, addiction, and homelessness – and the participating musicians. In true Doll House Tradition, there will be a tip jar for all musicians to share. “It’s A Doll House Tradition To Tip The Musician!”

My Sisters Place has the same mission as the Doll House, which is to protect and create awareness of the dangers of one’s surroundings. It advocates for women to speak out and be heard. To work together and heal through music and community. When we first started this event, that was the main purpose, so women in the music scene weren’t alone and could call on each other. It was created as a safe space, like My Sisters Place.

Q. Tell me about the artists who will be performing on March 8th. What genres of music will be represented?

The artists are women who have been busting their butts in the music scene worldwide. They aren’t just local heroes but international inspirations. They come from all walks of life. Some have been with the Showcase from the beginning, and some I have met in the past year. They come from Quebec, Guelph, Port Dover, London, Kincardine, Port Stanley and Toronto.  Each musician is pushing boundaries every day to create that safe space for the young musicians coming up. Easy to talk to, open to tell you anything and help you where it’s needed. Sometimes an in confidence ear.

The lineup includes myself, Anne Moniz, Cinzia and the Eclipse, D’eve Archer, Gillian Davies, Angelina MacKinnon, Felicia McMinn, Rachel Dara, Andrea Matchett, and Kate Channer. Musical genres presented will include Pop, Folk, R&B, and Rock. (Editor’s Note: Photos of the participating musicians appear below.)

Q. Where can readers get more information about the individual artists?

Each artist has an Instagram account and a website. They’re all on social media, so they’re easy to find. I urge you to follow them, comment on their pages and tell them what inspired you when you saw them perform.

Q. Do you plan on making this an annual event again?

That’s a great question. I haven’t decided yet. But I think this is a great idea.

Q. Is there anything else you think our readers should know about the March 8th event?

This isn’t just a showcase. These events have always been about networking and connection, storytelling, and just making sure we all get a little bit of love. There will be merch for sale, so please bring cash. That goes directly to the artists. We have an amazing host named TIA G, who is a champion of women owning their energy, advocating for being yourself, and is a bright light in our sometimes very dark community. We are so excited to have her!

IF YOU GO:

What: The Doll House Showcase Presents: International Women’s Day – Women in Music.

When: Sunday, March 8th at 6:00pm.

Where: Palasad Socialbowl, 777 Adelaide Street N., London, ON.

Tickets: $10 cover charge at the Door. An All Ages Event.

For more information, visit https://www.facebook.com/events/1920189272180409/

PARTICIPATING ARTISTS:

(Tia G.)

(Anne Moniz.)

(D’eve Archer.)

(Gillian Davies.)

(Rachel Dara.)

(Kate Channer.) 

(Angelina Mackinnon.)

(Felicia McMinn.)

(Andrea Matchett.)

(Cinzia And The Eclipse.)

Q&A Interview with Laura Gagnon conducted by Richard Young, Publisher & Content Manager of The Beat Magazine 2025.

If you have a story idea or would like to become a Volunteer Writer for The Beat Magazine 2025, you can reach Richard at richardyoung@thebeatmagazine2025.ca

Q&A With Musician Marque Smith

by Richard Young

Interviewed by Richard Young

(Pictured: Marque Smith.)

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.

To learn more about Marque Smith, visit https://www.marquesmith.com/

Follow Marque on Facebook https://www.facebook.com/marquesmithmusic

Follow Marque on Instagram https://www.instagram.com/marquesmithmusic

To learn more about London Gospel Collective, visit https://www.londongospelcollective.ca/

(Pictured: London Gospel Collective.)

London Rocker Rose Cora Perry returns home October 24th at the Palasad Socialbowl

by Richard Young

by Richard Young

London rocker Rose Cora Perry returns home for a gig at the Palasad Socialbowl on October 24. The Beat Magazine 2025 spoke with Rose in between gigs during her international tour about her developmental years in London and her life as a musician on the road.

The Beat Magazine featured a cover story, Driven to Succeed, about Rose Cora Perry in its Fall 2012 issue.

At that time, author Bob Klanac described Rose as a “snarky punk-popper” who also modeled, wrote, acted,  and hosted her own Rogers TV show entitled London Driven, a program that profiled the city’s young entrepreneurs. She was also working on an album.

A lot of water has run under the bridge since that story was published. These days, Rose fronts and tours internationally with her band, The Truth Untold.

The Beat Magazine 2025 caught up with Rose before her homecoming gig at London’s Palasad Socialbowl on Friday, October 24.

It would appear she’s still Driven to Succeed!

Q. It’s been a while since we last talked, years even. What have you been up to in the intervening years since then?

Only over a decade, but who’s counting?! Allow me to summarize. I hosted a couple of TV shows, acted in some short films, released a second solo album and toured as a singer/songwriter, wrote some columns that got published in multiple media outlets and achieved acclaim, emceed some amazing mental health awareness-raising events…and most recently I’m back where I belong: on stage fronting a rock’n’roll band called The Truth Untold.

Q. You certainly have been busy! Let our readers know a little bit about Rose Cora Perry, the musician and person. Where were you born? How old are you? How long have you lived in London?

I’m a born and raised Londoner – specifically a proud Byronite. And you should know it’s impolite to ever ask a woman her age.

Q. Was yours a musical home? Did you have any professional training, or are you self-taught? Could you tell me about your early musical endeavours as a child and teenager?

I love ‘em, but my parents have zero musical ability. They are both phenoms in their own right, however, as incredibly successful athletes and entrepreneurs.

My father is an insurance broker/financial advisor, and former World Powerlifting Champion, and my mother is a fitness trainer/guru and former Bodybuilder. I probably should’ve grown up to become an Olympian with their genetics, but alas became a depressed teenager and turned to rock to deal with my angst.

My late brother, however, was a tremendously talented natural musician who could pick up just about anything by ear – his presence growing up definitely influenced my musicality. This was supplemented by the fact that my parents, early on, recognized I liked being the centre of attention and on stage, and promptly enrolled me in classical vocal training, which I studied diligently for over a decade. When I was 15, I founded my first rock band.

Although I studied voice and theory through the Royal Conservatory, achieving my grade seven and grade two, respectively, I am an entirely self-taught guitarist, so much so that I actually invented my own tablature for the purposes of writing songs.

Q. Do you remember the moment when you decided that music was going to be a big part of your life? How long have you been playing music professionally? Do you consider yourself a full-time or part-time musician?

I don’t think I “decided” to “make” music a part of my life so much as I was “given” a gift that I don’t take for granted. There have been many times throughout my music career when I’ve felt defeated and beaten down, but then the muse once again strikes.

Any musician will tell you, you cannot simply “turn off” being a musician; it is a part of who you are intrinsically, a part of your identity.

Even if I wanted to give up touring, for example, songs just come to me – I have no control over that ability. Most of the time, I consider it a blessing…unless it’s 2:00 am and I’m really fucking tired. LOL. In those cases, it’s a bit of a curse.

However, I believe each of us is given very special gifts to share with the world, and the universe blessed me with the gift of music.

I consider myself a professional musician and gig in accordance with having a work/life balance. I have been fronting bands in a professional capacity since I was a teenager.

Q. Other than vocals, do you play any other instruments?

I do! I am well-known for my rhythm guitar prowess as a down-stroking queen. I also rock the lower clef on bass and have written/recorded bass on several albums.

Q. What have your musical influences been over the years?
Songwriting-wise, I adore Alanis and Chris Cornell. My biggest influence as far as style is irrefutably Veruca Salt.

However, I have diverse tastes, and on any given day, you might catch me listening to big band/swing, metal, or pop – it just depends on my mood.

Q. Tell me about the various groups and musicians you have played with since you started playing professionally. Who are you currently playing with?

High school years: HER. Cofounded with the late Trish Doan on lead guitar. She later went on to rock bass as a beloved member of Kittie. I was the frontwoman, songwriter, and rhythm guitarist. To write and release an album with this band, I practiced six hours a day for six months on guitar, until my fingers bled, and I could competently sing and play at the same time. True story!

College years: Anti-Hero. We got signed to a major label, played some notable festivals in Canada and the US. Got to perform at Warped Tour the year that Joan Jett headlined and hang with her backstage. Swoon!

Again, I was the frontwoman, songwriter, and rhythm guitarist. Fun fact. While in the studio recording our hit single, “Unpretty”, I learned on the spot how to palm-mute; a technique which has become integral to my playing style.

Post-college: Released two solo albums in the singer/songwriter vein. Toured briefly, armed only with an acoustic guitar. HATED it. I decided to form a band again because I missed distortion and being obnoxious.

Present Day: The proud frontwoman, singer, songwriter, and rhythm guitarist for award-winning rock quartet, The Truth Untold.

(Pictured: The Truth Untold L-R, John-William Kostecki, Steven Skrtich, Rose Cora Perry, and Jessie Taynton)

Q. Tell me a little bit about any recordings you have made in your career.

HER: Straight from the Loft (album)

Anti-Hero: Unpretty (album)

Rose Cora Perry: Feisty (demo), Off Of the Pages (album), and Onto the Floor (album)

The Truth Untold: Other Side of the Story (EP) and One Thing Left to Say (EP)

The Truth Untold is currently in the studio recording a brand new EP entitled Phoenix Rising. We’re super stoked about the new music we’ve been working on and excited to have collaborated as a band on this project.

Listen to The Truth Untold’s new single, Excuses:

Q. What projects are you currently pursuing? Do you have any gigs coming up in the next month or two you would like our readers to know about?

We are winding down our summer tour, which started in May of this year, and among its highlights were Hills & Hollers Music Festival (Pennsylvania), Fun Fourth (North Carolina), Skatepark Fest (Ohio), headlining Strummerfest (Waterloo), and opening for Big Sugar at this year’s Taste of Edmonton (Alberta).

We’re super excited to be having a homecoming of sorts on Friday, October 24, at the Palasad Socialbowl. This will be the first London gig we’ve had in two years! The last time we played locally, we opened for The Killjoys at the same killer venue.

This time around, we’re sharing the bill with Howlin’ Circle and Baby’s First Pistol. All ages are welcome. It’s a $5 cover and doors open at 8:00 pm.

Q. In addition to your musical endeavours, are you involved with any other arts organizations or activities in the London community?

I’m part of several fun meetup groups that take part in everything from hiking to board games. You’ll also see me, of course, attending concerts supporting my fellow locals.

Q. What do you do for fun/leisure when you’re not performing and/or recording?

Apparently, attempt to be witty while answering interview questions. Just kidding! I love action movies, rollerblading, and drag racing my Camaro – not necessarily in that order.

Q. Is there anything else you think our readers should know about RCP the musician and RCP the individual?

If there is, it’s probably well-documented on my website www.rosecoraperry.com, but if anyone has a burning question for me, they are absolutely always welcome to reach out.

I love connecting with fellow musicians and fans, and I appreciate all of you wonderful people for reading this fun interview.

Q. Just one last question. Do you ever smile in your promo pics?

Why would I do something silly like that when I have such a glorious, sultry pout?

For more information about Rose Cora Perry, visit https://www.rosecoraperry.com/

Follow Rose on Facebook https://www.facebook.com/rosecoraperry

Follow Rose on Instagram https://www.instagram.com/rosecoraperry/

For more information about The Truth Untold, visit https://www.thetruthuntold.ca/

Follow The Truth Untold on Facebook https://www.facebook.com/rosecoraperryofficial

Photo Credits: Mystery Man Photography.

London Fringe Shows and Performers Highlights – Jenn Weatherall & Maria Colonescu

by Richard Young

Best friends, Jenn Weatherall and Maria Colonescu, are presenting a double bill – No Lilies & Everything I Didn’t Get to Say (In a Collection of Petals), while Maria is performing one of her own, The Companion, at this year’s London Fringe.

“They are haunting, emotional pieces that explore life and death, strength and fear, words never said, loss and pain,” says Jenn. “Our shows are the only all women productions in the festival, and we are the only two female playwrights in the festival. Maria is the only female director.”

Show Highlight: The Companion at Procunier Hall

We should all be so lucky to have that one, constant companion, there for us in our most difficult moments – patient, honest, kind. Or should we? Even the things we thought we knew could change in an instant. The Companion is an intense, demanding, cerebral two-hander that will have you confront life’s big moments: terrifying and hilarious, gentle and cruel. You will be captivated by two superbly challenging performances from Maria Colonescu and Andre Furlong and leave the theatre thinking about what it all means.

Show Highlight: Everything I Didn’t Get to Say (In a Collection of Petals) at Procunier Hall

Sometimes, words fail. Sometimes, you don’t get to say the words at all. Sometimes, words are not necessary to begin with. Everything I Didn’t Get to Say (In a Collection of Petals) is a colourful journey into the past, revisiting moments that went wrong, moments that went just as they should have, and moments that only happened in an imagined alternate reality – all through the beautiful and fragrant lens of flowers and their world of meaning. A fever-dream of story-telling, poetry, and botany, all packed into 20 minutes!

Show Highlight: No Lilies – at Procunier Hall

Preparing for any big life event can be terrifying. Perhaps if we were free to strip away all the pressures and expectations put upon us by those around us, society, even ourselves…maybe then we could experience life with a purity so many of us search for. No Lilies is an exploration of just that; of finding the strength to reject everyone else’s wants and putting yourself first to encounter your life with complete transparency and truth.

This is a piece that was written as part of Flush Ink Productions’ annual “Write or Flight” program. It was performed both in Flush Ink Productions’ Unhinged Festival of Disturbing Theatre, and the Guelph Fringe Festival in which it was awarded Outstanding Performance.

To purchase tickets and get more information about the London Fringe, visit www.palacetheatre.ca/london-fringe