Fugitives Nominated for Canadian Folk Music Award

We’re very honoured to get a nod for Vocal Ensemble of the Year at this year’s Canadian Folk Music Awards for our recent album, Everything WIll Happen. We’re a band that’s fortunate to get to have a lot of amazing vocalists joining us onstage at different times, including Chris Suen, Ali Romanow, Kathleen Nisbet, Steve Charles, Trish Foster, Matt Elwood, plus the Fugitives that joined us on the recordings, Ben Elliott, Derek Kehler and Sahra Featherstone. Thanks, everyone!


Big Vancouver Show! with fringe percussion & Hannah epperson at st james hall, sep 13th

Saturday, September 13th
St James Hall, 3214 W. 10th Ave.
Doors 7pm, Show 8pm
Tickets – $15 advance/$20 door. Students- $10.
Tickets available through www.brownpapertickets.com



What happens when a guitar feedback loop is replaced with a water-dipped gong? What if a drum kit was replaced by firebells,  rusty bread pans and a timpani drum or a harmony line by a handsaw? These are some of the questions innovative singer-songwriter Adrian Glynn and Vancouver’s premiere new music percussion ensemble, Fringe Percussion, will answer in their first live performance together at St James Hall on September 13th.

In a Vancouver recording studio in 2011, the members of Fringe Percussion laid down intentionally rough-hewn bed tracks for Glynn’s album Bruise. Apart from resulting in a sublime, critically acclaimed album, this session also planted a seed in the minds of both parties about possible further collaboration.  Since that time, Glynn and Fringe have worked together to develop a more refined fusion of their sounds, with Fringe now taking on the role of the full band, using their full arsenal of percussion instruments to supply bass lines, harmonies, and countermelodies, in addition to the rhythmic drive and exotic sound-world first explored in the Bruise session.

September 13th will mark the first public performance of this collaboration. The show promises to be a theatrical experimentation in sound and performance style, using various facets of the intimate space at St James Hall in Kitsilano.

“This is an exciting meeting of musical worlds”, says Fringe leader Danny Tones. “Fusing the Western musical tradition work that we do with Adrian’s lyrical songwriting style is a type of collaboration we’ve never seen before, so we jumped at the idea to create a new sound in this way”.

The show will feature collaborative works both artists have been working on over the past year and a half, as well as performance pieces from Fringe Percussion’s catalogue (including the likes of John Cage and Steve Reich) and newer songs of Glynn’s. Rounding out the ensemble (and performing some work of her own) will be rising indie superstar, loop-violin player Hannah Epperson, certainly no stranger to innovation herself.

“It’s a songwriter’s dream to get to hear your songs come alive in a way you’d never even considered before”, says Glynn, who is also one of the leaders of modern folk group, The Fugitives. “And sharing a stage with the sort of musicianship Fringe and Hannah employ- that’s like a hallucination. I can’t even believe it’s happening”.


Adrian Glynn and Fringe Percussion EPK video

Europe Tour and a WCMA Nomination!

Hello and howdy from Londontown;

I am here on tour with The Fugitives- we just did three glorious weeks in Germany, Switzerland, Holland and Austria and are now on week two of our UK tour. We have two shows in London coming up, (as well as a few other smaller towns) and our last performance of the tour will be at Glastonbury Festival on June 27th. (You can see all our dates here).

We were also quite chuffed (you can tell I’m in England) to be nominated recently for a Western Canadian Music Award for Roots Album of the Year for our latest record, Everything Will Happen.  Very chuffed indeed.

We have a few summer festivals coming up and then I will be heading back into the studio in the Fall to record a new solo record, at long last.

I hope your summer is off to a brave start. I’m off to the Tate to get all cultured and the like.

Love Glynn

The Unforgettable Buffy Saint-Marie Tour

It’s not often you have a tour that you don’t want to come home from. Usually you’re ragged, tired of other beds, tired of other people, tired of Tim Horton’s, sick of cars and sound guys and asking for the wifi password.  Sick to death. But not this tour.

We spent two weeks opening shows across the prairies for the living legend, Buffy Saint-Marie. We all knew a little of her music before the tour started. Some of our parents were big fans, some of us had caught her incredible set at folk festivals along the way. We knew it would be a good tour. We didn’t really know it would be unforgettable.

The first show was in Winnipeg, sold out, energetic. We hadn’t seen Buffy or her band yet and were excited to catch them after our set. They took the stage and right away we noticed three things- Buffy may be 73 but you’d be hard-pressed to peg her much over 45, the way she owns the stage in 4-inch heeled boots and skinny jeans; each member of her band looked like they could individually take our entire band in a bar fight- these were not small guys, but man, did they gel as musicians; and the last thing we knew right away- this was not going to be a folk show.

We all became instant Buffy fans that night. We already knew some of the bigger tunes, like Universal Soldier and Up Where We Belong, but other anthems were soon impressed into our brains and the soles of our awkward dancing feet- Darling Don’t Cry, Bury My Heart At Wounded Knee, Starwalker. Usually after a couple times seeing the same band on tour you start retiring to your dressing room and the flask.. Not only did we never miss a chance to catch most of Buffy’s set from the wings, we even got her albums and started playing them in the car, rocking out to the same tunes we had just been rocking out to the night before. Now that’s love.

Meanwhile, we were getting to know the band. Michel the drummer and Leroy the bass player joined us for a whisky night in a hotel room in Swift Current. A dour security guard with a sad, dangling flashlight tried to break up our fun at 2am, but we weren’t having it. We spent several nights carousing with these guys, hearing their stories of Buffy and Manitoba and the road, and sharing our less interesting tales of running out of gas in Lloydminster and how cool Brendan’s mom is to us.

About five shows into the tour, two amazing things happened. One- the guys talked to Buffy and she asked us to join her onstage for her tune Country Girl. Two- they asked us to smudge with them before the show. If you don’t know what that is, then only feel kinda dumb- I only kinda knew. It’s a prayer ritual involving the burning of sweet-grass, breathing, meditation and prayer, a very sacred rite. We were floored and honoured when Michel asked us to join their smudge before the Saskatoon show. Michel prayed in Ojibway, Buffy in Cree. We breathed the sweet-grass smoke with them, arms around each other, giving thanks and feeling the glow of new friendships forming.  Afterward, in the dressing room, every Fugitive was silent and reflective. We decided later that we needed a prayer ritual that involved more than just standing in a circle and simultaneously slapping each other’s faces and giggling, which had been our tradition for the last two nights.

We danced in the wings during Buffy’s last songs in Moose Jaw, sad that it was the last time now, happy to have a tour we didn’t want to end. It’s a rare thing. We won’t forget it.