JESSE NORTHEY PONDERS THE PARADOXES OF FRIENDSHIP ON NEW SINGLE, “DO I BELONG?”

Photo Credit : Colin Medley // DOWNLOAD HIGH-RES

There’s a disarming, gentle power to Jesse Northey’s songcraft. The Toronto-based musical polymath has spent a decade and a half honing his skills at writing just-right pop songs that distill a world of feeling into a few choice lines. Northey’s warm, mellow songs deconstruct the artifice of masculinity and paint humanistic portraits of those around him. You can hear Northey’s dedication to capital “P” pop across his solo debut, Onion Knight, produced by Thomas D’Arcy (The Sheepdogs, NOBRO).

Today, Northey returns with the new single, “Do I Belong?”, a song of “ego, a song of love, a song of reflection, and a song of belonging,” he explains. “Are you the one for me? Am I God? Will you still like me if I change?”

Grounded in his melodic approach to the piano, Jesse Northey’s new single, “Do I Belong?” is an open-hearted ode in what can feel like an increasingly closed-off, individualistic world. Northey ponders the paradoxes of friendship and embarks on a delicate dance of change and growth, only to return to the titular question that started the journey. Playfully sincere, “Do I Belong?” stops you in your tracks to consider your place in the world.

Mixed by Jesse Turnbull and recorded in Northey’s home studio, the latest single sounds like a warm hug: the fuzzy feeling invoked by the truly spiritual sides of religion, with none of the baggage. There’s a divine balance of instrumentation, as Northey homing in on precisely what is needed in every verse, every phrase: some congas here, a 70s guitar lick there courtesy of Edmonton-born, LA-based songsmith Michael Rault, and gently melodic piano chords guiding you throughout.

The video for “Do I Belong?” captures the song’s universalist spirit with playful reverence. A tongue-in-cheek riff on Northey’s childhood memories of being a church youth leader and listening to his mom playing hymns on an organ, the video sees Northey and his musical buddies play hippie preachers, jamming out in the sanctuary like it’s 1969.

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MORE ABOUT JESSE NORTHEY
Jesse Northey’s current project blossomed out of his decades of experience across the Canadian musical landscape. Over the years, Northey has contributed in countless ways: as an artist manager, label manager, studio engineer (he’s got a degree in Digital Audio Arts), producer—and, at the centre of it all, his work as a multi-instrumentalist singer-songwriter. Leading the band Jesse & the Dandelions for a solid decade, Northey toured from Alberta to Japan, sharing stages with Hollerado, Said the Whale, and July Talk along the way. 

Northey’s on the prestigious High Priestess Publishing roster, which has led to songs appearing in far-flung places such as the Jesse Moss documentary Mayor Pete, and Netflix’s “My Life With The Walter Boys”. As the head of Victory Pool, a record label and management company, Northey currently supports an impressive variety of acts, including Ghostkeeper, The Deep Dark Woods, MOONRIIVR, and Lauren Dillen. “I do better when switching focus all the time,” Northey explains. Northey’s earnest passion has driven him to tend to a vibrant community of the most impactful musicians in the game. By nurturing others, Jesse Northey thrives.

This knack for versatility was on full display when Northey decided to move from writing on guitar to exploring the keys. In a world full of guitar guys, Northey taught himself piano. Studying a Beatles songbook, Northey was soon uncovering new layers of expression, and the current project was born.

Northey’s music is marked by his earnest, lifelong devotion to crafting, practicing, and sharing music. His work is not only vibrant and thoughtful; it also might just softly disarm whatever cynicisms may be holding you back today.

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PHARIS & JASON ROMERO SHARE NEW SINGLE, “LOST LULA REDUX”

JUNO AWARD WINNING DUO PHARIS AND JASON ROMERO RETURN WITH A NEW TAKE ON AN OLD FAVOURITE IN “LOST LULA REDUX”

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Pharis & Jason Romero’s music is a songwriter’s deep exhale, replete with stories, love, and nostalgia. With Pharis’ love of storytelling as a base for the duo’s artistic connection, their songs are lush and saturated with their lives: incidental touring, raising two kids, making banjos, and playing this music because they must. 

The songs are created as much from ideas - from being on the tops of mountains and phone calls with aging loved ones to insomnia, meditation and family feuds - as they are from the joy of playing and recording with a stellar band: fiddle, bass, piano, and percussion. 

Today, they return with “Lost Lula Redux”, a song that is more than just a banjo tune; it’s a melody that has traveled far beyond its origins. This is a new approach to their track “Lost Lula” which was first released in 2013 on their sophomore album Long Gone Out West Blues.  The tune has since found its way into the repertoires of banjo players around the world.

LISTEN / SHARE “LOST LULA REDUX” HERE
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Written by Jason Romero for a beloved yellow lab, “Lost Lula” carries an unlikely story. Lula was Jason’s companion before he and Pharis met. At one point she was quietly taken, flown to Vermont, and - through a series of fortunate moments and the kindness of strangers - miraculously found her way back to the newly married couple. Soon after, they moved to British Columbia, where Lula thrived in a forested landscape full of sticks to chase. When she later disappeared, weeks of searching yielded no answers. In the wake of that loss, Jason wrote “Lost Lula” as both an ode and a way to process his grief.

The tune began as a steel-strung clawhammer banjo piece and has evolved over more than a decade of performance. Pharis & Jason have played it on different banjos, in different tunings, and alongside many collaborators, while players across the banjo community have embraced the tune and made it their own.

Over the years, “Lost Lula” has quietly become part of our musical fabric - played in coffee shops, taught by teachers, and heard at weddings, funerals, graduations, and long journeys across the globe.

Now Pharis & Jason revisit the tune with “Lost Lula Redux”, recorded as they play it today. The melody remains the same, but the approach has shifted; Jason performs the piece fingerstyle on a deluxe nylon-strung banjo from the J. Romero Banjo's workshop, offering a fresh take on a modern banjo classic.

Photo Credit : Rick Magnell  // DOWNLOAD HIGH-RES

UPCOMING PERFORMANCES|
Apr 24 - Kelowna, BC - Kelowna Folk Roots
Apr 25 - Port Moody, BC - Inlet Music Series
Jun 22 - Port Townsend, WA - Voice Works 2026

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ABIGAIL LAPELL SHARES TITLE TRACK OF NEW ALBUM, FEATURING FRAZEY FORD

ABIGAIL LAPELL’S NEW ALBUM, SHADOW CHILD, ARRIVES MOTHER’S DAY WEEKEND, MAY 8, 2026 VIA OUTSIDE MUSIC 

WATCH / SHARE “SHADOW CHILD” FT. FRAZEY FORD HERE
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PRE-SAVE SHADOW CHILD HERE

NORTH AMERICAN TOUR DATES BEGIN APRIL 10

TICKETS ON SALE HERE

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Last month, Award-winning Toronto singer-songwriter Abigail Lapell unveiled her upcoming new album Shadow Child, an album about motherhood whose nine songs each represent a month of gestation. Today, Lapell is sharing the title track of her upcoming album, which features guest vocalist Frazey Ford and her already otherworldly vocals harmonizing with a theremin. The song’s simple, driving acoustic and baritone guitars underpin lyrics that explore the work of childbirth, both its joys and terrors.

“Shadow Child” arrives with a stop motion animation video that Lapell herself “made years ago, about a figure creating another figure out of clay,” she says. “It was shot in one ‘take’, all in camera, and filmed backwards – so that, when played in reverse, it shows the creature emerging from a formless blob.

“I recently found all my old super 8 films, and I thought this odd little black and white claymation might fit well with ‘Shadow Child’, a song about pregnancy and childbirth – creation and transformation.

“But when I actually tried pairing the two, it was crazy. The unedited ‘backwards’ visuals fit the song exactly perfectly – like down to the second. Complete with the final reveal of the figure’s shadow, and then my own hands in silhouette, returning it to a formless blob. I couldn’t believe it. Even the unintended strobe effect from my camera’s ‘shutter ghosting’; it kind of reminds me of the flickering of an ultrasound.

“So this video feels like a really wild collaboration with my much younger self. And a celebration of the oddness of “creation”, in both senses – as an artist and, now, as a mother."

WATCH / SHARE “SHADOW CHILD” FT. FRAZEY FORD HERE
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MORE ABOUT SHADOW CHILD
Every mother has a unique story. One thing is true for every mother, though: there’s no deadline quite like a pregnancy. Abigail Lapell was pregnant with her first child when she booked studio time on Vancouver Island to make an album about motherhood. The nine songs on Shadow Child, one for each month of gestation, had to be ready before then, and her return flight was booked on the last day she could safely fly in her third trimester. 

Working with producer Colin Stewart (Dan Mangan, Black Mountain), Lapell finished her songs in the studio and on rural walks beside the Pacific Ocean. She enlisted some of her favourite singers, all British Columbians, all mothers: Frazey Ford, Jill Barber, Pharis Romero. “They’re all people with unique, distinctive voices,” she says, “which is what I’m drawn to.”  

For Shadow Child, musically, Lapell was looking for a stark, acoustic sound, as opposed to 2024’s JUNO Award-nominated Anniversary (recorded in Niagara with Great Lake Swimmers’ Tony Dekker) and 2022’s acclaimed Stolen Time (recorded in Montreal with Howard Bilerman, featuring E Street Band saxophonist Jake Clemons).

Lapell’s road to motherhood was fraught, involving years of IVF and a 2023 miscarriage — that she experienced on stage while on tour. (She finished her set.) Her son was born in November 2024. The song cycle of Shadow Child covers joy and loss, using metaphors from Maritime tragedy, “little cannibals,” reproductive health, acquiring language, and lives altered by the arrival of a newborn. The title track refers to ultrasound imaging of “a liminal person that doesn’t quite exist yet,” says Lapell. “Their status is ontologically blurry.”

WATCH / SHARE “HAZEL” FT. JILL BARBER HERE
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ABIGAIL LAPELL ON TOUR
April 10 - Saint John, NB - Imperial Theatre
May 8 - Richards Landing, ON - Algoma Trad
May 14 - Saratoga Springs, NY - Caffe Lena
May 15 - Exeter, NH - Word Barn
May 16 - Cambridge, MA - Club Passim
May 17 - New York, NY - Cafe Wha?
May 22 - Toronto, ON - Hugh's Room
May 23 - Chelsea, ON - Motel Chelsea
May 24 - Ottawa, ON - Ottawa Tennis Club
August 7-9 - Red Rock ON - Live from the Rock Folk Festival

More Dates To Be Announced Soon

PRE-SAVE SHADOW CHILD HERE

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SHADOW CHILD TRACKLIST
01 Whistle Song (One In A Million)
02 Hazel ft. Jill Barber
03 Shadow Child ft. Frazey Ford
04 Mocking Bird ft. Dana Sipos
05 Talking To Myself
06 Little Cannibal
07 So Long ft. Pharis Romero
08 Mother Tongue
09 Sing A Rainbow

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