Patrons meander to the bar for a beer, find a spot on a bar stool or cozy couch, and are immediately regaled by top-notch opera performances from Winnipeg’s best and brightest opera singers. Walking into the Flipside Opera’s “Opera by the Pint” nights immediately dispels the myths that opera is stuffy. Staying true to its shape-shifting roots, the brewery now occasionally serves as a pop-up opera house. Originally a livery stable for the old city hall, it went on to serve as the home of the Red River Motor Coach Lines, a wallpaper store, and a print shop before the brewery finally made its home there. His tours in the US, Japan and Italy, and the crowd responses in all of them, prove that Colin has a rare gift that cuts across styles and cultures.The space that Little Brown Jug occupies has had many lives throughout the years. Colin has also collaborated with his Chicago-based band on the opening track “Into My Future”, which points to the way in which his travels are shaping his overall act. It will features a string section by Will Taylor and Strings Attached, guest vocals by Amanda Shires, Sally Allen, Julia Klee and a host of other talents.
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The album features two songs by Colin’s lifelong friend Johnny Walker, of Archive War and Ignorance Park. The recordings took place in Austin and Chicago, under the direction of Rob Seidenberg and Tim Bennett, respectively. His third release The Wild and Hollow marks a departure from Goodnight Lane, sonically and stylistically. The songwriting style he is creating has developed over the years, emphasizing uniqueness and truth above immediate public reaction. He is currently working on another album with producer Richard Barone.Ĭolin’s second album Goodnight Lane won fans across the world and critical acclaim, including 4-star reviews in Mojo and Uncut. which premiered at SXSW Film Festival and has since had great success and distribution.
He recently performed in and wrote songs for the critically acclaimed feature film Barracuda. He developed a taste for Buddy Holly, Townes Van Zandt, and bands like The Clash and The Pogues.įor 14 years, Colin has been informed by these observations, writing songs and playing under his own name. Since exploding on the Austin scene a decade ago, BettySoo has carved out an enviable niche among the very best the city has to offer.Ĭolin Gilmore grew up in Lubbock, Texas, spending many nights as a child in nightclubs like Stubbs, where he witnessed songwriters like Joe Ely, Terry Allen, and his own father, Jimmie Dale Gilmore, bring the stage to life. Austin, Texas, is a city where the musical bar is set high. They call it the live music capital of the world. “Exceptionally well written and arranged songs with a confidence that speaks volumes.” – AUSTIN AMERICAN-STATESMAN
“Beautiful, heart-wrenching songwriting that is also edgy and unwavering.” A funny anecdote sets up a song of heartbreak and need a witty rejoinder belies the dark truths that underpin much of her work. Touring the unforgiving circuit of listening rooms, clubs and festivals, BettySoo has mastered the art of performance. Her clear, evocative voice and poignant lyrics recall Patty Griffin and Joni Mitchell, and did I mention she’s a hell of a guitar player?” – NO DEPRESSION, live concert review BettySoo’s sharp, often self-deprecating humor skillfully wove the songs together.
A voice that knows the roots of American music inside and out coming from a most unexpected place – a diminutive Korean-American with a deceptively girl-next-door demeanor. At her own live shows, taking a verse onstage with friends or singing harmonies in sessions with Austin’s finest, BettySoo sings with consummate loveliness and self-assurance. A world-class instrument of deft phrasing and purity, a voice that knows when to hold back and when to dive in. “BettySoo may well have the most gorgeous voice in Texas …if not in all contemporary folk – its purity and strength can be downright devastating.” – ACOUSTIC GUITARīettySoo’s vocal prowess is a thing of wonder.
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