Lawrence Badanai

For Thunder Bay singer-songwriter Katherine Nemec, the heart of music has always lived between four walls: the living room. It’s where she first strummed a badminton racket and called it a guitar, where friends gathered for late-night jam sessions, and where triumphs and heartbreaks echoed in equal measure.

“I realized the only common denominator in the songs I wanted to perform was that they were all songs I loved to sing in my living room,” Nemec says. “And because I love hosting my friends, I loved the idea of just a bunch of people sitting around in a living room, sharing their favourite songs.”

Those walls, she reflects, have seen it all. “They’ve seen me receive amazing opportunities, and unfortunate rejections, and it’s all just a part of the journey,” she says. “Being an artist and musician is something I wouldn’t trade for the world, but it doesn’t come without its trials and tribulations.” Still, it’s those ups and downs that have shaped her sound — one that has grown from playful, makeshift lyrics on a badminton racket to polished storytelling on stages across Thunder Bay.

Her journey has been stitched together by collaborations and friendships. From writing songs in high school bands with longtime friend Shayla Rozic to recording her first EP with Jean-Paul De Roover, Nemec says her music “music always takes little pieces of people along the way, so I guess as I form new connections and as I grow into a different person each season, my sound inevitably changes a little bit. ” Lately, she’s leaned into the rockier side of her influences. “I’m a pretty quiet person and I like to keep to myself, so doing anything that felt loud or intense felt counterintuitive,” she says. “But it really is where I have the most fun musically.”

That spirit of collaboration carries into Live from the Living Room. For this concert, Nemec won’t be alone. She’ll be joined by Jacob Goodman on guitar, Nathan Pakka on bass, Shayla Rozic on keys, and Taylor Nicholl on drums. “I’ve played with each of them in some capacity throughout life but never all together like this,” she says. “It’s been really fun to have each of us put our own touches on the songs.”

The setlist will mix originals and covers, including one that brings her full circle: Get Back by Demi Lovato. “This song was from the ‘Disney rock’ era where everyone at Disney was releasing albums that were basically just full of rock songs — Jonas Brothers, Miley Cyrus,” she says. “So getting to do this song that I grew up hearing, that felt really rock ’n’ roll for an eight-year-old, feels really cool.” Alongside that nostalgia comes the excitement of something brand new. “There is one new original I’ve been workshopping that I’ll be playing — I’m really excited about that one.”

The concert is part of Magnus Theatre’s Unseen, Unheard, and Uncurated series, staged outdoors under the summer sky. Nemec is no stranger to Magnus, having recently appeared in Lies & Legends: The Musical Stories of Harry Chapin. That show, she says, “forced me to reconnect with myself as a musician, not just a performer. I got to bounce between keys and guitar, and teach myself to play bass, so it was a lot of mental work in that regard but so worth it.” This time, though, she’s aiming for something more relaxed and familiar. “I’m really hoping the outdoor stage allows for some ambient noise. I love the sound of the rain on the tent, so, as weird as it may be, I’m kind of hoping for a bit of a drizzle the night of. But I’m really just hoping it feels like a mix between sitting in someone’s living room and enjoying a summer evening sitting in someone’s backyard.”

Nemec’s story is rooted deeply in Thunder Bay. From talent shows to her first paid gig at Black Pirates Pub in 2015, to community theatre and performances with the TBSO, she has grown up on local stages. “I think in everything I do there’s a connection to the local music scene,” she says. “My hope is that the theatre-goers get a taste of the local musicians in town, and the music lovers get a taste of the theatre scene.”

And even as this concert approaches, she’s already thinking about what’s next. “There’s always a new chapter on the horizon,” she says. “I’ve been so blessed with so many big opportunities in the last year I could probably stop now and be content, but I have some new originals I’d like to record eventually. Otherwise, I just work hard at things as they come up and hope that with each new opportunity ending, another one pops up down the road.”

But for now, her own songs — and the songs that shaped her — are more than enough to fill the space. When the lights go up on Live from the Living Room, audiences can expect an evening that feels equal parts intimate jam session and backyard summer concert. The show takes place on Friday, August 22 at 7:30 p.m. on the Magnus Theatre Outdoor Stage, with tickets available for $40. It’s a chance to hear Katherine Nemec share the songs that shaped her journey — and maybe discover a few new favourites along the way.

It started with a box of old photographs. No one was quite sure when the last Harbourfest had taken place — sometime in the early ’90s, judging by the photo albums — but there it was: kids clutching balloon animals, a runway stretching down Red River Road, crowds swaying to live music as the sun set over the harbour. The snapshots told the story of a festival that once brought the whole city downtown.

This year, with the grand re-opening of Red River Road, the Waterfront District BIA decided it was time to bring that story back to life. “While brainstorming, we came across photo albums from past Harbourfests, which inspired us to revive this beloved community tradition,” the BIA said. “With the beautification of the North Core, we wanted to not only showcase the new and vibrant streetscape, but also to use it as it was intended — by hosting events right on the road. The wider sidewalks, expanded patio spaces, and fresh design make it the perfect setting for community gatherings.”

And so, Harbourfest 2025 was born — not as a replica of the past, but as a way to blend nostalgia with something new.

On Thursday, August 21, Red River Road will become a pedestrian-only playground. Music will spill from the stage, vendors will line the sidewalks, kids will dart between carnival games, friends will share plates of food, and the whole scene will unfold against the backdrop of the harbour. That, the BIA says, is what makes Harbourfest stand apart. It’s not just an event happening in the North Core — it is the North Core, in full celebration mode.

The evening begins at 5:00 p.m. with opening remarks and a ribbon cutting at 5:30 p.m., followed by performances from Arabella Dance and World Cultural Dance. At 6:30 p.m., the fashion show returns — a crowd favourite from the original Harbourfest — and at 7:00 p.m., the ever-popular dog contest takes the stage. More than 40 vendors and BIA businesses will be open along the street, offering everything from handmade goods to patio cocktails. Then, at 8:00 p.m., the live music lineup kicks off with Blood Red Moon, Small Town Bad, and Throwback, carrying the night through with rock, indie, and retro sounds.

“We looked back through old newspaper articles and photo albums from the festival’s early days, and what we found was a lot of creative community activities. The photo albums of the original Harbourfest had a lot of fun activities, events and performances, all of which drew great crowds, making it hard to choose what to bring back,” the BIA said. “This year, we picked what we felt were the favourites, including the fashion show, the very popular dog contest, and at the request of the public a strong lineup of live bands. Harbourfest had everything but we revived what we could tackle with a couple of months of planning all while paying homage to the festival’s roots and bringing that same energy and charm to a new generation of attendees.”

In the weeks leading up to the event, the entire neighbourhood has been buzzing. Local businesses have planned late-night hours, Harbourfest-only specials, and storefront displays to capture the energy of the evening. For many, it’s more than a festival — it’s a chance to welcome new faces and reconnect with familiar ones. To make it easier for out-of-town guests to stay, organizers also partnered with the Prince Arthur Hotel to offer a Harbourfest rate.

Most of today’s planners weren’t old enough to remember the original Harbourfest, but the community hasn’t let them forget it. Social media quickly filled with stories — vendors reminiscing about their first booth, parents recalling their kids’ excitement, and teenagers sharing how the event became the highlight of their summer.

“Many said it was their favourite festival as a child,” the BIA noted. “An affordable, amazing event that created wonderful memories and brought the community closer. Those stories have inspired us as we work to bring that same spirit and joy back to Harbourfest today.”

When asked to capture Harbourfest in just three words, organizers didn’t hesitate: nostalgic, community, connection. They’ve even imagined a mascot — Harvey the Heart — a cheerful symbol of the Waterfront District’s energy, optimism, and future. And if the festival had a soundtrack, they say it would be Queen’s Don’t Stop Me Now, with its jubilant refrain, “You can’t stop me now, ’cause I’m having such a good time…” — the perfect anthem for a night meant to celebrate joy, togetherness, and good times in the heart of the city.

Because at its core, Harbourfest isn’t only about music, markets, or contests. It’s about standing shoulder-to-shoulder with your neighbours, soaking in a summer evening, and remembering why this city is such a good place to call home.

Harbourfest 2025 takes place Thursday, August 21, on Red River Road in Thunder Bay’s Waterfront District. Admission is free. For more information and to see what’s planned, follow them on social media and come help write the next chapter in a festival story that has always belonged to the community.

For London, Ontario singer-songwriter Katherine Fischer, the best stage in the world isn’t under a spotlight—it’s under the open sky, framed by trees, waves, and a warm summer breeze. This summer, Fischer is bringing her folk confessionals to nine provincial parks across Ontario, including two local gems: Sleeping Giant and Kakabeka Falls. It’s the second year of her Ontario Parks Tour, a grassroots concert series that blends live music with the magic of the outdoors.

“I truly believe that connecting to music in a natural setting is really special,” Fischer says. “Nature grounds us, and I think there is something really wonderful about singing songs that talk about nature while being immersed in it.”

The idea for the tour was sparked by an unforgettable 2022 performance at Killarney Provincial Park’s long-running summer concert series. “I saw how special it was,” Fischer says. “I love camping at parks and saw the opportunity for concerts to happen there.” With support from the Ontario Arts Council, she launched the 2024 pilot tour, visiting six parks and drawing as many as 180 people to a single show. The response was so strong that this summer she’s expanded to nine parks, some in places that rarely see live music, making the experience even more rewarding.

Fischer’s songs blend heartfelt storytelling with vivid natural imagery, drawing influence from artists like Sara Bareilles, Joni Mitchell, Kacey Musgraves, and Phoebe Bridgers. “I truly think the heart of the songs I write is combining the rawness of the human experience with nature imagery,” she says. “I explore intimate feelings such as love and grief while using references to rivers and forests, and my experiences learning to care for and reconnect with the land.” Her connection to music began early—her father was a songwriter who was always playing the family piano, and her mother loved listening to great writers like Bruce Springsteen. Once she was old enough for school, she was always in choirs and plays. “It feels like music has always been a part of me,” she says.

Touring Ontario’s parks has been as much an adventure as it has been a performance schedule. “Ontario is so vast and has so many ecosystems – it’s an absolute pleasure to get to spend the summer travelling and exploring,” she says. Performing in these spaces is unlike any other entertainment venue. Audiences are often made up of campers, hikers, and families who may have stumbled upon the music by chance. Some moments have been deeply personal, like after singing The Current, a song about grief and loss. “I’ve had a few folks come up to me after shows and share their experiences with deep loss and grief,” Fischer says. “Those moments stand out to me because they are such vulnerable moments of human connection. There is a beauty in the vulnerability of getting on stage sharing these deeply personal experiences I have had, and knowing that that is helping someone feel less alone.”

Fischer has also been documenting the tour through short, joyful videos that capture the parks, the drives, and the music. “I have always loved making videos and sharing them on YouTube of my adventures,” she says. “It’s a really fun, different form of artistic expression. The feedback is always lovely on my videos. I try to share the joy and the vulnerability of being an artist, and I think that translates.” The response from her audience has been warm, and the videos have become a way to both invite people into her world and preserve the memories for herself. 

When asked what she’s most looking forward to about her northwestern Ontario stops, Fischer can’t choose between Sleeping Giant and Kakabeka Falls. “It is so wonderful to come to northern Ontario – I love the landscapes. They are my favourite places in the world,” she says. “But there is something also really warm and welcoming about northern Ontario audiences that is really special. So it’s a tie between both.”

“Nature and human beings are so deeply connected,” she says, “there is something magical about gathering together to enjoy the vulnerability that is artistic expression surrounded by the landscapes of this beautiful country.”

After the tour wraps, Fischer will head into the studio to work on new songs, with plans already forming for Parks Tour #3 next summer. For her, the “why” behind it all comes down to something Martha Graham once wrote about artistic expression—a “blessed unrest” that lives inside and must be shared:

There is a vitality, a life force, a quickening
that is translated through you into action,
and because there is only one of you in all time,
this expression is unique.
If you block it,
it will never exist through any other medium
and be lost.
The world will not have it.
–Martha Graham

“Music is as much a part of me as any other human function—it will and has always been,” she says.

Katherine Fischer’s latest album, Great Loves, is available on all streaming platforms. You can follow her adventures at katherinefmusic.com or @katherinefmusic on social media. She performs at Sleeping Giant Provincial Park on August 15 and Kakabeka Falls Provincial Park on August 16, 2025. Concerts are free with park day-use admission.

When Elly Tose first stepped into the role of Artistic Director for the Live From The Rock Folk Festival, she knew she was joining something special. “To see what this weekend of amazing music, art, food, adventure and community has accomplished for over 20 years — it’s overwhelming in the best way,” she says.

Now in its 23rd year, the festival in Red Rock, Ontario, has grown from a small-town dream into one of Northwestern Ontario’s most cherished cultural gatherings. But it’s still deeply personal, grassroots, and guided by the same values that launched it in 2003: music, community, and the power of place.

Founded by a small group of local residents, and with the artistic vision of Liz Harvey-Foulds, the festival was created to bring folk, roots, and acoustic music to the lakeside town’s backyard. Pull-a-Log Park, the festival’s scenic home, offers the perfect backdrop: high cliffs, open skies, and the rolling waters of Nipigon Bay. And according to Elly, that natural setting is far more than just a pretty view.

“It’s not just where we host the festival,” she explains. “Pull-a-Log Park is part of the experience. The tranquillity invites people to slow down and be present. There’s something very moving — maybe even spiritual — about it. And it shows up in the music, too.”

This year’s edition, running August 8–10, will feature 21 artists spanning a vibrant cross-section of the folk genre. Festivalgoers can expect ragtime, bluegrass, Americana, honky-tonk, and French-language performances from the likes of King Cardiac, David Essig, Kelly Bado, Andrina Turrine, and Miranda Currie, who will offer a special children’s concert.

One of the festival’s signature features is its daytime “performers-in-the-round” workshops — spontaneous jam-style sessions organized around themes like We’ve Got the Beat or Important Matters. “It’s where the magic happens,” Elly says. “These collaborations only exist for that moment. It’s an experience you can’t replicate.”

Evenings on the Festival Stage offer longer, back-to-back concerts under the stars, allowing audiences to immerse themselves in full performances from individual artists.

Despite its growth, now welcoming more than 2,000 attendees annually, Live From The Rock remains volunteer-run and powered by community spirit. “There’s no major infrastructure here, no big corporate machine,” Elly says. “We rely on partnerships, creativity, and sheer determination. It’s beautiful to see what can be done when a community comes together.”

Roughly 150–200 volunteers donate their time, working long hours in exchange for weekend passes, meals, and the chance to be part of something bigger. “Some of our volunteers come from as far away as southern Ontario and even the U.S.,” Elly shares. “They return because they believe in what this festival means.”

Festival operations have evolved, from online artist applications to a new tiered ticket pricing model that makes passes more affordable while helping organizers plan more sustainably, but its foundation hasn’t changed.

“In a world that feels increasingly divided, what we do here — gathering people, welcoming diversity, supporting artists and celebrating the land — feels more important than ever.”

At its core, the festival is about connection — a value deeply embedded in folk music itself. “Folk speaks from real life,” Elly says. “It honours the past but welcomes new voices. Whether it’s songs about climate change, identity, or reconciliation, the genre remains relevant. It invites people in — to sing along, to share stories, to belong.”

That invitation is perhaps the most lasting part of the weekend. Whether you’re swaying with strangers to a familiar chorus or discovering an artist you’ve never heard of, it’s easy to lose yourself in the moment.

One story sticks with Elly in particular. “A woman came up to me last year and told me she had packed a book, expecting downtime because she didn’t know any of the performers. She never opened it once. She said the music completely swept her up. That’s what this festival is about.”

The festival is full of small, grounding traditions. One of Elly’s favourites is hosting the “Make A Joyful Noise” workshop on Sunday morning, the final set of the weekend. “As people wander in with their coffees and blankets and relaxed smiles, I get to see everyone — toddlers, elders, exhausted volunteers, fulfilled performers. That moment always hits me. You can feel what we’ve created together.”

And yes, weather plays its part too. “Last year it rained all Friday and Saturday. But people stayed. They danced under umbrellas, huddled together, made the best of it. That’s resilience — and it’s part of the story.”

There’s even a canon of campfire songs that return year after year: “The King of White Otter Lake,” “Woodsmoke & Oranges,” and singalong classics like The Weight, Blowin’ in the Wind, and Country Roads.

“Those songs unite people,” Elly says. “Just like the festival does.”

So, why make the trip to Red Rock this August? For the raw, rugged, and unforgettable setting; for the kind, inclusive, and welcoming community; for the value of affordable tickets and lakeside camping; and for the music — something familiar, something surprising, something soulful. Whether you’re dancing barefoot, browsing handmade crafts, or sitting in the grass watching the sunset, Live From The Rock offers more than just a festival — it offers a moment of peace, connection, and joy. “Come once,” Elly says, “and you’ll understand why people come back year after year.”

The Live From The Rock Folk Festival runs August 8–10, 2025, in Red Rock, Ontario. Tickets, performer lineups, and festival details are available at www.livefromtherockfolkfestival.com

Thunder Bay has never lacked for talent, but what makes the city truly special is its willingness to celebrate it. Whether it’s a mural in a downtown alley, a reimagined public space, a spoken word performance, or a decades-long dedication to historical preservation, culture in Thunder Bay is shaped by the people who quietly and passionately pour themselves into the creative life of this place.

This fall, that spirit takes centre stage again with the return of the Thunder Bay Arts & Heritage Awards, which is a renewed celebration of the individuals, groups, and projects that keep the city’s cultural heart beating.

“I think a lot has changed in how Arts, Culture, and Heritage work is being done in the city,” says Caitlyn McMillan, Cultural Development & Public Art Coordinator with the City of Thunder Bay. “I moved here in 2008 for school and saw a lot of growth happening in the years following, which left me feeling optimistic about what was happening and how we were engaging arts and culture professionals in Thunder Bay. Before 2019, projects like the Waterfront development and its public art really showcased local talent and the possibilities in the city. Unfortunately, COVID changed a lot, and we’re just starting to see those opportunities build again with projects like the Northcore Streetscapes and a variety of opportunities still to come.”

The awards were last held in 2019, and their return is a welcome sign of renewed momentum. “The awards faced real challenges during COVID in 2020 and 2021, especially with restrictions on gathering and how to properly honour recipients during that time,” McMillan explains. “We explored some alternative formats, but with uncertain and changing needs, we were not able to move forward with them at the time. Since then, we have been rebuilding our cultural events and programming back to pre-COVID levels of engagement. The intention has always been to bring the awards back when we were able to do so properly. This year we have finally been able to make that happen, and from what I’ve seen so far, the excitement around the awards shows the community agrees it’s time for their return.”

As the awards return, so too does a broader reflection on how we define and recognize cultural contribution. “One of the major shifts we’ve seen in terms of cultural contribution and the work happening in the city is a growing understanding of what Arts, Culture, and Heritage actually means,” McMillan says. “We’re recognizing more projects as ‘cultural,’ and the need for these projects has increased. We’re also trying to encourage more heritage-based engagement in the awards, because there’s a lot of heritage work that hasn’t been highlighted or recognized as much as it deserves.”

That recognition has both symbolic and practical importance. “First of all, arts, culture and heritage work is essential to the health and wellness of any city, and a growing Northern city like Thunder Bay needs it more than most realize,” McMillan says. “Preserving the heritage of our spaces, showcasing the cultural experiences, and activating our artists is crucial to people’s connection to the spaces they live and work in. It fosters social connectivity and inclusion, inspires diversity and accessibility, promotes growth and collaboration. It also has an economic impact, attracting visitors and locals to explore what this City has to offer. The Ontario Arts Council found that Arts and Culture tourism in Ontario has triple the economic impact; Arts and Culture tourists spend more and stay longer.”

Recognition also validates those who often work quietly and without fanfare. “None of these things would be possible without knowing, activating, and recognizing the local Arts, Culture and Heritage champions that live, work and create here,” says McMillan. “It is important that the public knows who is out there making a difference to our City. It’s also important that these individuals know their work is truly valued by the community, especially since many of them are volunteers, underpaid creatives, or people fitting this work into overtime on top of their already busy lives.”

The program itself continues to evolve. This year’s award design has been commissioned from a local artist — a full-circle gesture that embodies the spirit of the event. “Yes, I think the award design is a great example of how this event has developed over the years and how we can continue to evolve to meet the needs of the community,” says McMillan. “It is important that the work we do to recognize the leaders in this community is not just a gesture – we are committed to providing opportunities to the talent we have in Thunder Bay. Inviting a Thunder Bay artist to create the design is one way we are able to do that. We’re hoping to commission a new design every couple of years, and I’m especially excited about the new artwork for this year. It feels like a fresh start and a celebration of the renewed energy surrounding the event.”

More than a celebration, the awards serve as a cultural pulse check — and a reminder of Thunder Bay’s civic values. “I don’t think these values – celebrating artists, creatives and heritage leaders – are unique to Thunder Bay, in fact I think we still have work to do in understanding the importance of this kind of recognition,” McMillan says. “Thunder Bay has a strong identity as a big-small town, which can sometimes make it harder to meet the needs of our creative and cultural communities. We often lose talented people to larger cities that seem to offer more opportunities. But the fact that these awards exist, and that we take time as a city to celebrate these individuals, shows that it doesn’t take a massive budget or big city infrastructure to let people know their work matters.”

The program is intentionally wide-reaching, ensuring that many voices, from youth to elders, are heard. “These awards really show that hometown vibe Thunder Bay has,” says McMillan. “They recognize so many different voices—from grassroots groups who are right in the heart of our neighbourhoods, to historians keeping our stories alive, and young creators bringing fresh ideas. What’s cool is that the awards don’t just stick to one kind of art or heritage work. They celebrate all the different ways people get involved here. That’s what makes the event feel real and connected to the community, and it helps bring new voices into the conversation.”

Looking ahead, the awards are just one piece of a larger cultural plan. “They’re not just about celebration — they also help raise the profile of the people and projects making a real impact here,” says McMillan. “Looking ahead, we’re working on several initiatives aimed at building long-term support for the arts, culture, and heritage sectors. One major step is the implementation of our new Culture Plan, which outlines strategies to grow existing programs, re-engage some that have struggled since COVID, and launch new initiatives to meet current needs. As the City of Thunder Bay focuses on growth, we need to make sure the cultural sector grows with it.”

Nominations are now open to the public, offering everyone a chance to recognize the individuals, organizations, and projects that make Thunder Bay shine. Whether it’s a local historian, a youth arts leader, a community group, or an unsung volunteer, now is the time to ensure their work doesn’t go unnoticed. The nomination deadline is Thursday, August 31 at 12 p.m. EDT, and all details, including award categories and criteria, can be found on the City’s website at https://www.thunderbay.ca/en/recreation/arts-and-heritage-awards.aspx

While these awards honour the people shaping Thunder Bay’s cultural identity, they also remind us of our shared responsibility — to celebrate good work, to lift each other up, and to take pride in what’s being created in our city. That means attending shows, purchasing local art, visiting heritage sites, volunteering, sharing, and most of all, nominating the people whose contributions make our lives richer. Arts and heritage aren’t extras. They’re part of what makes this city home.

A man on stilts juggles fire while a violinist plays a haunting melody just steps away. Children gasp as a living statue suddenly springs to life. Laughter echoes between storefronts, and the smell of fresh food mingles with the beat of a street drummer’s rhythm. Welcome to the Bay and Algoma Buskers Festival, where sidewalks transform into stages and everyday streets pulse with possibility.

Celebrating its 10th anniversary, Thunder Bay’s most eclectic and electrifying event returns from July 26th to 27th, with a special edition that promises extra magic, more music, and, for the first time, a full evening lineup that sustains the energy into the night. Featuring performers from across the globe, local artists, food trucks, craft vendors, and a community-centred vibe, the 2025 festival is set to be its most memorable yet.

“The City of Thunder Bay rehabilitated Algoma St. in 2011,” explains festival organizer Uriel. “The newly widened sidewalks invited creativity and activation so over the winter months the Buskers Festival was planned as an upgrade to the business area’s annual sidewalk sale. Each year is essentially a one-off so the street closure and site configuration has seen many alterations. This year we are bringing back what we think is our most successful site model.”

Since its launch in 2013, the festival has grown steadily in both scope and stature. For its milestone year, the team focused on curating the most dynamic and diverse lineup to date. “In the last couple years we’ve really tried to strike a good balance between local and international acts: music and performance art. This year is one of the most varied talent line-ups we’ve ever had. Being the tenth year, we wanted to ensure it was an unforgettable weekend for everyone.”

The festival takes pride in its variety, and its ability to surprise. From musical acts and physical comedy to aerial performances and living statues, the event offers something for everyone. “Performers with unique skill sets and a lively stage presence are what we look for. In early years we did locals auditions but since then, we have a good sense of what our local talent brings. Though orchestrated by a central committee, this truly is a community undertaking.”

Community is at the heart of the event. The festival not only brings vibrancy to the Bay and Algoma neighbourhood but also reflects its values. “Events like Buskers Festival make neighbourhoods livable. It’s a draw from the region for sure, but especially potent for residents that can walk right into the site. We take care to build the festival around some simple values; community driven, fully inclusive and wildly entertaining.”

The open-air environment greatly contributes to making the experience memorable and distinct from a conventional theatre or concert hall. “Street performance is accessible, tangible, relatable. It’s performance art at a macro level and very intimate. The rapport between artists and viewers is where the magic is, both essentially being part of the show. At Buskers Fest you can see multiple performers during a 40-second walk. It’s a talent saturation and very stimulating.”

New this year is the addition of nighttime programming, which extends the festival’s hours and atmosphere. “This year we will be doing an evening portion to the show, so there will be entertainment til dark. As well, the out-of-town buskers will really be bringing the variety. Not new but equally important, we have amazing local vendors and businesses that add to the charm of the street.”

Over the years, the festival has created countless moments of joy and surprise for audiences, and lasting connections for the artists who participate. “Sooo many great acts over the years! The first year of the Taiko Drummers was really special. The thunder of their drums felt like a call to action. I think it’s those drums that keep us inspired all year long. On year 3 we brought in a real piano, which was used by several artists and added some really cool texture to the event.”

More than anything, Uriel points to the relationships as the festival’s true highlight. “The relationships we have built with local and international artists is really the highlight though. Enduring good vibes, thanks in no small part to Thunder Bay community spirit.”

The festival also provides a meaningful boost to local shops and restaurants during the weekend. “Locals businesses tend to do well at the festival but we like to think that the enduring brand of the neighbourhood as an inclusive cultural hub keeps our engines revving all year long.”

While the weekend is sure to deliver big laughs, applause, and awe, the festival’s long-term goal remains refreshingly simple. “The vision for Buskers Festival is simple: Bring together community with joy, inspiration, opportunity. We strive to celebrate and introduce people to Thunder Bay’s arts & culture excellence.”

Looking ahead, Uriel says the festival’s future isn’t about growing larger—it’s about growing deeper. “After 10 years, it feels like Buskers Festival has a life of its own. The direction of the organizing committee is less about scale, more about potency. Quality details, exquisite performances in a manageable package that respects all. We dream that when the new Hoito is finally built that the Bay & Algoma neighbourhood will shine even brighter, and with it our yummy little festival.”

Whether you’re drawn by the music, the laughter, the awe-inspiring talent, or simply the joy of being part of something local and alive, the Bay and Algoma Buskers Festival is a celebration of community, creativity, and connection—and after ten years, its heart beats stronger than ever. Don’t miss the magic July 26–27, 2025 in the Bay & Algoma neighbourhood. For the full lineup and festival details, visit www.buskersfestival.ca.

This isn’t just a concert. And it’s more than a play. It’s a celebration of one man’s ability to turn everyday lives into unforgettable stories, and a chance for Thunder Bay audiences to gather under the tent at Magnus Theatre and be swept away by the songs of Harry Chapin.

With Lies and Legends: The Musical Stories of Harry Chapin, Magnus offers a summer production that trades spectacle for sincerity, and stagecraft for soul. Chapin’s music – raw, heartfelt, and unflinchingly human is set to shine in this open-air tribute that’s as much about feeling as it is about listening. In an age of instant content and digital noise, this is a show that invites you to slow down, breathe deeply, and truly hear the stories.

Artistic Director Thom Currie describes the experience as “not quite a play, not quite a concert,” and explains that this approach is true to the show’s unique history. “Since its’ inception in the 1980s, Lies and Legends has been an odd piece of theatre,” he says. “The original conceit was five actors/dancers and a five-piece band, presenting staged interpretations of the songs. The Magnus production is melding those two sets of artists into one unit, essentially forming the show into a musician-based experience.”

This choice is deeply rooted in how Chapin’s music was meant to be encountered. “Chapin’s songs were created to be listened to on recordings or heard live, performed by a band,” Currie says. “Keep in mind, he was also a playwright and actor; Cotton Patch Gospel continues to be performed around the world, and The Night That Made America Famous had two Tony nominations in 1975, so he was no stranger to the stage. The songs in Lies and Legends, however, were created to be listened to, not seen. Our production takes the audience back to that experience.”

The focus, he says, is on evoking imagination rather than visual storytelling. “Listening to Chapin’s recordings, the listener is immediately transported into the story of the song, from Cat’s In The Cradle to Taxi to W.O.L.D.. A listener, or an audience, doesn’t need a prompt or an interpretation, other than their own imagination, to get pulled into that story. This is what we are attempting with Lies and Legends; to strip the experience back to its’ original aural form, allowing the story to exist in the mind’s eye of the listener. The experience will feel like a concert, yet the listener will be transported into the tale that is told.”

That intimate approach is only heightened by Magnus’s iconic tent setting in Waverley Park. “I wanted to throw open the walls and allow the patrons to breathe the air and be aware of the surrounding of Waverley Park, with the sounds of Red River Road and Algoma Street,” Currie says. “The songs always evoke a location—a busy home, a rainy street, a Sunday morning sunshine. It’s one more touchstone for the senses, in that they hear and be aware of the world around while they are transported by the music.”

The result? “In short, for many people, they will be coming to an open-air concert with full lights and sound. Many will come and be treated to some very detailed and moving stories told in song, most of which they may have never heard. And many others will be revisiting songs that shaped the way they listen to music. It’ll be an original experience.”

Magnus has found success in recent summers by embracing stripped-back, emotionally rich outdoor performances. Currie says that simplicity is a strength. “We try to make our outdoor experiences as simple as possible, so that the audience can truly enjoy an experience set apart from a traditional theatre experience. They can close their eyes, breathe deeply and be transported by the beautiful intricacies of his lyrics and stories,” he says. “Our most popular outdoor productions have been just that simple; A Closer Walk with Patsy Cline, Mama’s Country Record Collection and Romeo & Juliet resonated with audiences because of their simplicity and source material. Chapin’s songs speak to the essence of what it is to be human today (not just in the 1970s), with themes of love, loss, pain, regret, joy, growth and triumph. It doesn’t get simpler.”

To honour Chapin’s musical roots, Currie handpicked a group of local singer-songwriters to bring the songs to life: Jean-Paul De Roover, Sharon De Leon, Katherine Nemec, Adam Houle, and musical director Danny Johnson. “Pulling this group together was a lot,” Currie says. “The decision goes back to who Harry Chapin was at his core, a singer-songwriter. I wanted to put his music into the hands of local singer-songwriters, not just musicians. Every single person in the production is a recording artist in their own right. Who better to do a deep dive into the catalogue of a great singer-songwriter than another singer-songwriter?”

That artistic freedom paid off. “They mine the song and bring new meaning and emotion, wringing a lot of emotion and laughter along the way,” Currie says. “Danny, Sharon, Katherine, Jean-Paul and Adam were all encouraged to lean into their own performing styles as well, to make this a uniquely Thunder Bay experience. It’s wonderful to watch this blending of musical and performing styles come together.”

The production also connects to a lesser-known piece of local history: Chapin performed a solo concert at Lakehead University in 1981, just a year before his death. While no known photos of the performance exist, Currie says its legacy still lingers. “It adds a layer for Thunder Bay, and by extension for Magnus,” he says. “I’ve been a fan of Harry Chapin’s music and stories since I was a kid. When I was in second grade, my teacher Miss Kennedy would pick up a guitar and sing to the class, performing an array of singer songwriter songs. One of the songs was Chapin’s Flowers Are Red. Fast forward to myself and my daughters, singing the same song in the living room. Fast forward to this production. While I have no connection to Harry Chapin on a personal level, to know some members of the community shared an experience with him is wonderful.”

“I am also a performing arts history buff,” Currie adds. “I love that he performed solo at LU (Lakehead University), at a time when he was filling very large venues across the continent. It speaks to who he was.”

Chapin’s humanitarian legacy is also honored in the production. As a passionate advocate for food security, Chapin co-founded World Hunger Year, now WhyHunger, and donated half his concerts to the cause. In tribute, Magnus is partnering with the Regional Food Distribution Association (RFDA). “Hunger is best faced at a grassroots (local) level,” Currie says. “At each performance, we will be encouraging audience members to share what food security means to them and we will be accepting monetary donations to RFDA through Canada Helps.”

Whether you’re a longtime fan of Harry Chapin or discovering his music for the first time, Lies and Legends offers more than just a night under the stars—it offers connection. To stories. To songs. To each other. Through the voices of Thunder Bay’s own singer-songwriters, and in the open-air intimacy of Magnus’s tent, Chapin’s music finds new life—reminding us that great storytelling never goes out of style, and that even the simplest song can speak volumes. Lies and Legends runs from July 17 to August 2 on the Magnus Theatre Outdoor Stage.

Before the wigs, drag, and viral TikToks, The Golden Girls was a beloved TV sitcom that aired from 1985 to 1992. The show followed four older women—Dorothy, Rose, Blanche, and Sophia—sharing a home in sunny Miami. Played by comedy legends Bea Arthur, Betty White, Rue McClanahan, and Estelle Getty, the characters became iconic for their sharp wit, deep friendship, and bold takes on topics like aging, dating, feminism, and social justice.

The show earned critical acclaim, multiple Emmys, and a massive cross-generational fan base that continues to grow thanks to syndication and streaming. Its timeless humour and heartfelt storytelling especially resonate with LGBTQ+ audiences, who celebrate it as a tale of chosen family, fierce independence, and flawless one-liners.

Now, those four unforgettable women are back—sort of.

Golden Girls: The Laughs Continue hits the Thunder Bay Community Auditorium on July 30 with an all-new drag parody that imagines what the girls would be up to if they were still raising hell today. Written by Robert Leleux and directed by Eric Swanson, the show is both a loving tribute and a riotous reinvention. With sky-high heels, outrageous antics, and just the right amount of scandal, this stage show turns the sass up to eleven.

For Vince Kelley, who stars as the sultry Blanche Devereaux, the role has been a dream come true. “I’ve been working with the producers on a different production before the pandemic,” Kelley explains. “Then, during lockdown, they started developing Golden Girls, so I was very lucky to be invited to be a part of the show from the very beginning.”

And for Kelley, slipping into Blanche’s world starts from the ground up. “I have always loved Blanche,” he says. “And it’s very funny that you mention the heels because Blanche’s footwear is really an important step in how I get into character. I love her voice. It doesn’t really exist in America. In interviews, Rue McClanahan said the accent was an amalgamation of a few different relatives, so I try really hard to honour her and her family with my performance.”

With such a loyal fan base behind the original series, Kelley says the audience reaction has been nothing short of magical. “They love it,” he says. “Any skepticism disappears when the curtain goes up, and they see our recreation of the set with all of its Easter eggs and details. And then, when each of us says our first line, they just gasp. It’s magical to hear.”

That kind of gasp-worthy recognition is one thing, but each city brings its own flavour to the experience, especially when it comes to regional humour. “Yes!” Kelley laughs, when asked if reactions vary. “A major part of our show is that Sophia has been busted for selling drugs, and in the States, the audiences are scandalized. But we’ve learned that in Canada, where y’all are soooo chill and relaxed about recreational drug use, they just don’t understand what Sophia did wrong. It’s actually really funny for us, and has led to some great ad libs.”

For those wondering what to expect from this version, Kelley describes it as “an all-new story.” Set in the present day, Sophia is out on bail after being busted by the DEA for running a drug ring out of Shady Pines. Blanche and Rose are running “CreakN,” a wildly successful senior-focused dating app. And Dorothy? She’s doing her best to hold everything together, with help (or not) from her much younger, sex-obsessed love interest. “So it’s like a lost episode. But the antics are turned up to 11,” Kelley adds.

Behind the scenes, the energy is just as entertaining. “Definitely making our TikToks,” Kelley says when asked about laugh-out-loud moments on tour. “We really put a lot of effort into our social media, so when we’re sitting around brainstorming ideas we just crack up with how ridiculous we can get.”

Of course, there’s also a rich and lasting connection between The Golden Girls and drag culture—one that the show embraces wholeheartedly. “We love our divas, and they certainly fit the bill,” Kelley says. “And not for nothing, the show—as well as the actresses—always treated the gay community with love and respect. On the show and off.”

As for why The Golden Girls remains so iconic all these years later, Kelley doesn’t hesitate. “When something is done right the first time, it’s going to hold up,” he says. “The casting was amazing, the writing was great, the chemistry of the women was brilliant. Funny is timeless if done right.”

And when asked what’s next for the show and the cast? “We’re just going to keep going until the wheels fall off,” Kelley laughs. “And Canada has opened up a whole new world for us, and we LOVE the people. Every stereotype is true. Y’all are so nice.”

Golden Girls: The Laughs Continue plays for one night only—Wednesday, July 30 at 7:30 PM at the Thunder Bay Community Auditorium. With outrageous comedy, sharp one-liners, and just enough scandal to keep things interesting, this is one theatrical reunion you won’t want to miss.

The sounds of live music, the rhythm of street dancers, and the joyful surprise of hula hoop performers are starting to echo through the heart of Thunder Bay’s Waterfront District — and it’s all by design.

Thanks to a recent callout from the Waterfront District BIA, buskers are turning the city’s entertainment hub into a vibrant, open-air stage that welcomes creativity from morning into the night.

Why is the Waterfront District such a great place for buskers? According to the BIA, it’s all about the energy. “The Waterfront District is Thunder Bay’s entertainment hub,” they shared. “It’s full of creativity and community spirit — the perfect place for performers of all kinds. Whether you’re a musician, dancer, or spoken word artist, the Waterfront District is a welcoming, dynamic space that encourages people to be themselves and share their craft.”

The neighbourhood’s proximity to cruise ship docks and its reputation as a destination for dining, theatre, and cultural events means street performers have access to a broad and engaged audience, including both locals and tourists.

Recent streetscape enhancements have also made a noticeable difference in creating a more performance-friendly environment. With wider sidewalks, more public seating, and thoughtful landscaping, the space is now more inviting than ever. “These upgrades have changed the vibe of the area — for the better,” said the BIA. “Performers have more room to set up without getting in the way of foot traffic, which helps everyone feel more relaxed. It also means audiences can stop and enjoy the show without feeling like they’re in the way. More seating and thoughtful landscaping make it easier for people to linger, take a break, or just soak in the atmosphere. Altogether, it’s created a more welcoming, accessible space that supports live performance and encourages people to stick around.”

The BIA’s goal is to activate the space both day and night, with street performers helping create a continuous sense of excitement and community. “Daytime busking adds vibrancy to the everyday flow of people shopping, dining, or walking through the area, while nighttime performances keep the district feeling safe, active, and inviting after dark,” they explained. “The goal is to build a space that feels creative, inclusive, and full of life”

So far, the call for performers has been met with enthusiasm. “We’ve had a very positive response,” the BIA confirmed. “Twelve different buskers have already signed up — musicians, dancers, even hula hoopers. We’re thrilled by the diversity of performers eager to share their skills.” The BIA continues to welcome new buskers to join in, encouraging artists to sign up and be part of this growing creative community. “It’s exciting to see so many local artists embrace the opportunity to connect with audiences and share their creativity on the streets.”

Whether you’re strolling through the core on a sunny afternoon or taking in the lights on a summer night, there’s a good chance you’ll find yourself pausing to enjoy the soundtrack of a city celebrating its creative pulse — one street performance at a time.

Bayfest never got to take its first breath. A brand-new festival, named lovingly after the very bay that defines our city, was cancelled before its inaugural season. Organizers tried to pivot after Country on the Bay struggled. They regrouped. Rebranded. Booked artists. Built the scaffolding for something they hoped would grow into a new Thunder Bay tradition.

And yet, it never happened. Ticket sales didn’t come as expected. Support didn’t arrive in time. So they pulled the plug. For the organizers, this isn’t just a failed business venture. It’s heartbreak. A dream carefully built, then quietly dismantled before anyone heard a single note. For performers, both local and international, it’s a lost opportunity. For our community, it’s more than just a missing weekend; it’s a moment that should make us pause and ask: What is happening to live events in our city? And what role are we playing in their survival or their silence?

Putting on a live festival, or any live event for that matter, isn’t just tricky, it’s exhausting. Behind the scenes are months of logistics, applications, marketing, permits, rain plans, equipment rentals, negotiations, hopes, and skinny budgets. People do this work not for profit, but for passion—for the love of bringing people together, of building something real.

And when it doesn’t work? When an event like Bayfest is cancelled before it even begins? The pain cuts deeper than disappointment. It starts to feel personal. That maybe people don’t care. That may be because the effort wasn’t worth it. You could feel that sentiment growing online when the news broke on Reddit, on Facebook, and in quiet conversations around town. Some pointed fingers. Some shrugged. Some asked why the city doesn’t do more. But others shared something raw and honest, such as asking why these things die. Why do you see the same people trying over and over, and yet others sit back waiting to see if it’s worth their time?

These comments stayed with me. Because it’s true, not just in Thunder Bay, but in communities everywhere. And yet, it reflects our current situation.

Across Canada, the live entertainment sector is thriving, with a GDP contribution of over $10.9 billion, supporting 100,000 jobs, and nearly 20 million people attending concerts and festivals in 2023. These numbers should tell a hopeful story.

And yet here at home, we’ve seen beloved events stall.

Thunder Bay’s Bluesfest drew more than 18,000 attendees in 2016, a 30% jump over previous years. But the festival, last run by the Thunder Bay Community Auditorium, has since gone silent, not returning after the pandemic. Country on the Bay struggled to find its footing, and Bayfest tried to fill that space, but couldn’t.

So if demand is there nationally, why do local efforts falter? This city has always shown a passion for live music. We’ve packed Marina Park, Chippewa Park, Waverly Park, or Fort William Historical Park with fans under summer skies. We’ve danced in the rain, sung along with touring acts, and come together for free shows and paid festivals alike. The appetite isn’t gone. But something has shifted. People are tired. Money is tight. And in a world where we can stream what we want, when we want it, without leaving home, maybe the motivation to gather in real time has weakened.

We’re quick to celebrate what’s established, after the fact. But for anything new? The patience isn’t there. The trust is missing. And without that, we lose the next generation of events before they have a chance to root themselves.

The heart of the matter is that live entertainment doesn’t survive without its audience. We can mourn what we’ve lost, but lamentation changes nothing. Festivals require more than passive support—they need active engagement. That means early ticket purchases, word-of-mouth promotion, volunteering, sponsorship, and sharing a post even if you’re not attending. It means trusting before you see the proof. This isn’t about extravagance, it’s about faith in what local creators bring to our lives. Showing up once the stage is built is nice. But showing up before the foundation is even poured? That’s sacred.

The fire isn’t dead. There are still sparks. Wake the Giant is one of them. It began with a purpose bigger than music and has grown into something beautiful. But even that festival didn’t succeed on vision alone. It succeeded because people said: Let’s give this a chance.

This isn’t about comparing festivals. It’s about understanding that nothing lasts unless we build it together. Wake the Giant is the exception, not the rule. The more complicated truth is that most events don’t reach that point. Not because they’re poorly planned. Not because they’re unworthy. But because we didn’t show up when it mattered.

Bayfest’s silence shouldn’t be forgotten. It should be a signal. A reminder that culture doesn’t just “exist”—it’s created. One ticket at a time. One volunteer shift. One shared post. One act of belief in our own community.

Because if we wait to support something until it’s proven, it may never get the chance to be.

This isn’t about blame. It’s about reflection. We all want to enjoy our vibrant, short summers. We all want festivals. We all want “something to do.” But when those things appear, they need us to meet them halfway.

So when the next announcement comes, whether it’s a new show, a street fest, or a homegrown concert series, maybe we don’t ask if it’s worth our time. Maybe we ask: How can I help this succeed?

Let Bayfest’s cancellation be more than a loss. Let it be a lesson because Thunder Bay deserves music. It deserves moments that can only happen here. But only if we’re willing to make them happen together.