Ryan McMahon w/ Guest at The Duke Saloon

The Zone Band of the Month artist – Ryan McMahon – is coming to Victoria to release his new album “In Line for a Smile” out February 1st on Elbowroom Recordings.

Ryan McMahon w/ Guest at The Duke Saloon

The Zone’s Band of the Month of January

About this Event

The Zone Band of the Month artist – Ryan McMahon – is coming to Victoria to release his new album “In Line for a Smile” out February 1st on Elbowroom Recordings.

Join us in celebrating the release on April 12th, 2019 with Guests.

Doors at 7:00pm – Show 7:30pm

McMahon’s 6th solo studio album coming after a two-year support of his last release with Lion Bear Fox. Read the bio here: https://ryanmcmahon.com/about/

Check out the official video for the first single, “Too Tired for Love” premiered by Aesthetic Magazine here:

Exclusive Premiere: Watch Ryan McMahon’s New Video for “Too Tired For Love”

Album drops February 1st! Order it on iTunes:


Jon and Roy ‘Here’ Album Release

Jon and Roy’s 8th album Here (out 3/1/19) epitomizes their journey to date; an assured collection of 9 brand new songs that touch upon themes of love, presence, hardship and joy.

Jon and Roy ‘Here’ Album Release

The Zone at 91-3 present Jon and Roy ‘Here’ album release show at the Capital Ballroom.

19+ Event | Doors @ 8:30PM
Tix: $26.50 available from Ticket Rocket and Lyle’s Place (on sale Feb 6th @ 10AM)
Guest to be announced.

Jon and Roy’s 8th album Here (out 3/1/19) epitomizes their journey to date; an assured collection of 9 brand new songs that touch upon themes of love, presence, hardship and joy. Building upon the creative energy of 2017’s The Road Ahead is Golden, Here is an aural balm to soothe in these uncertain times; a gentle reminder to be present, to revel in the simple joy of living. “To me, this album is something special,” says Middleton, “It contains all the elements that I hold dear about this band, and it feels free to me; as true an expression of our music as we’ve ever created”

Recorded in the quiet forests of Vancouver Island over the summer and fall of 2018, Here is quintessential Jon and Roy. “Half of the songs were written this past year,” Middleton continues, “but the other half are 2, or even three years old, and have needed time to simmer to get where they needed to be.” In the title track, Middleton’s beguiling vocals weave a languid tale atop of Roy Vizer’s laid back percussion. The tracks ‘Headstrong’ and ‘Seven Colts’ are buoyant, filled with an exuberance that is elevated by a breezy horn section and strong vocals. In the raw and honest ‘Where Has My Love Gone’, Middleton laments lost love; his impassioned vocals rising over Vizer’s stripped back drums. A compelling lyricist, Middleton is renowned for not sharing the meaning behind the songs; instead encouraging the listener to draw upon their own personal experiences to find connection, “I love that our songs have an ambiguity to them,” he says.


Carmanah • Capital Ballroom

Carmanah • Capital Ballroom Carmanah has never been afraid to reach deep into the music archives for the gritty vintage flavours that influence its modern sound.

Atomique Productions & The Zone at 91-3 presents…

plus Sam Weber
Friday, March 1, 2019
Capital Ballroom
Doors: 8:30 PM

Advance tickets: $15.00 – Available at Ticketweb.ca (bit.ly/CRMNHYYJ) and Lyle’s Place


Carmanah – “Nightmare”

Carmanah has never been afraid to reach deep into the music archives for the gritty vintage flavours that influence its modern sound. The band consistently delivers a dynamic and well-balanced performance that features Laura Mina’s soulful lead vocals supported by strong male harmonies, multiple lead instruments and a driving rhythm section. Poignant songs explore love, nature and the issues of the world. It all adds up to what New York producer Gus Van Go has approvingly coined, ‘West Coast Soul’.


Ocie Elliott Album Release Show

Ocie Elliott album release party with special guests Davers (of Current Swell) and Fintan.

Tickets $15 ($20 at the door) available online at www.ticketrocket.co, or at the Ticket Rocket Box Office (1050 Meares St ) & Lyles Place.

Presented by The Zone at 91-3

Ocie Elliott album release party with special guests Davers (of Current Swell) and Fintan.

Tickets $15 ($20 at the door) available online at www.ticketrocket.co, or at the Ticket Rocket Box Office (1050 Meares St ) & Lyles Place.

*early show*
Sunday February 10, 2019
7PM Doors | 8PM Show | 19+
Cabaret-style seating

Ocie Elliott will be playing their first headlining show in Victoria to celebrate the release of their new album ‘We Fall In’ (out February 8th). Joining Ocie Elliott on the bill will be the amazing Davers (of Current Swell) and Fintan. It promises to be a special evening complete with cabaret-style seating, candles and wonderful music.


Ocie Elliott:

Ocie Elliott is a musical duo comprised of Jon Middleton and Sierra Lundy from Victoria, B.C., Canada. The two met playing music at a festival on the small, wind-swept Salt Spring Island, where their love of music and the chemistry of their voices fostered an instant connection. Jon and Sierra’s voices meld beautifully in a cascade of sound, described by one reviewer as “…the aural equivalent of indigo painted skies and the first summer stars.” Their unique blend of contemporary and indie folk music is influenced by artists such as Gillian Welch, Simon & Garfunkel and Angus and Julia Stone and born of the natural landscape of Canada’s wild west coast. In late October 2017, they released their first EP to the world, recorded in the woods of Vancouver Island, and immediately attracted an international following. Since then, they’ve toured Europe and the western United States and opened shows for the likes of Mason Jennings, Sons of the East, Roo Panes, Luca Fogale, Joshua Hyslop and Current Swell.

Listen: http://smarturl.it/OcieElliott


David Lang, aka Davers, is best known for his body of work as a founding member of Victoria BC band, Current Swell. After over a decade of writing, recording and touring in Canada, USA, Europe, Australia and Brazil, Davers is finds himself “finally stepping out” and recording a solo EP for release this November with Oscar St Records. The 5 songs recorded in early 2018 with producer/ engineer Colin Stewart (Dan Mangan, Black Mountain, Cave Singers), have a definitive feeling that can’t be described as happy or sad, fast or slow, but somehow… moving.

Listen: http://smarturl.it/davers


“Body” is the new single off my upcoming EP Then We Fall.

Then We Fall is the closest I’ve come in the journey of figuring myself out, and the culmination of years of writing, busking, and recording. My goal has always been to be as deeply honest as possible in my music — to take what I create from my most personal feelings, written in the loneliest hours, and make it available for anybody to listen to. It sounds scary, and I suppose it is, but when you really feel that what you’ve made is true to yourself, it’s comforting to know that whoever hears it will understand who you are. All I’ve ever wanted was for my songs to connect with as many people as possible, and hopefully be there for them in the moments when music is the only answer.

I started writing songs at age 9 and that’s all I’ve wanted to do since. I grew up performing countless shows with my brother, sister, and father in our family band, busking on the streets of western Canada all through my teenage years. I logged my 10,000 hours as a musician and discovered the joy of winning over an audience with my voice and acoustic guitar. After years of building that foundation, I got excited to explore a different kind of musical palette around my songs and break away from the acoustic leanings that I’d grown comfortable with. So when I turned 20 last year, I decided that the next chapter of my songwriting should be elevated by modern production and influenced by the pop music I love, while still staying true to my singer-songwriter roots.

Then We Fall tells the story of falling into love, growing apart, and ultimately starting the cycle all over again. The music was recorded with the amazing producer Hugh Mackie inside of a box truck that was converted into a recording studio (which is exactly as cool as it sounds). Hugh and I spent countless hours in the truck discovering how these songs were meant to sound within our new musical landscape. Our main focus was making sure that nothing got in the way of the emotional message of the songs, so we tried to keep the arrangements as sparse as possible. We wanted them to breathe with space and simplicity.

Each song on this EP takes me back to exactly where I was when it was written and exactly how I felt at that time – whether overjoyed or heartbroken. I hope that you can hear yourself in these songs, and that they reflect your own life back as you listen. If they can make their way into your memories some day, I’ll feel like I did my job.

Listen: http://smarturl.it/fintanbody

Monster Truck • Capital Ballroom

The term Rock n’ Roll gets thrown around pretty haphazardly. One can go as far as stating it’s been bastardized to the point of being unrecognizable, ironically shouted on stages worldwide, and classified dead or MIA by the very musicians that once upheld its standard.

Atomique Productions and The Zone at 91-3 present…

Monster Truck
plus The Picturebooks
Wednesday, February 6
Capital Ballroom
Doors: 8:00 PM


Advance tickets: $32.50 – Available at Ticketweb.ca (bit.ly/MNSTTRKVIC) and Lyle’s Place


Monster Truck – “Evolution” – www.youtube.com/watch?v=f2GFVtNDfQU

The term Rock n’ Roll gets thrown around pretty haphazardly. One can go as far as stating it’s been bastardized to the point of being unrecognizable, ironically shouted on stages worldwide, and classified dead or MIA by the very musicians that once upheld its standard.

Enter Monster Truck. There’s something comforting about a band name that delivers exactly what you expect to hear. Born in 2009 from the ashes of various Canadian Indie bands, Monster Truck began as a sonic affront to the very industry its members were bred from. After feeling more like cogs in the music industry machine, Jon Harvey (bass & lead vocals), Jeremy Widerman (guitar & vocals), Brandon Bliss (organ & vocals) and Steve Kiely (drums & vocals) broke free to forge their own path, answering only to themselves. “It was admittedly a bit selfish from the get-go as we only were looking to please ourselves,” laughs Widerman. Their unabashed approach to making and performing music became infectious. “We just wanted to mix all of our favorite hard rock, punk and classic rock favourites into something raw and basic,” states Widerman, almost as if to suggest that no one had done it to his liking yet. The band was doing something right. A ground swell of regional fans quickly began rushing to any local venue to see the band perform live. Rock n’ Roll is clearly not dead.Offers began to pile up for Hamilton, Ontario’s prodigious sons, and the band soon realized they had to make a decision to jump in hip deep and take the record label and tour offers more seriously. “The decision was probably easier than I’d like to admit,” adds Widerman, suggesting they were probably all kidding themselves thinking they weren’t willing to make sacrifices once again in an attempt to make music for a living. What started as a fun and albeit ‘selfish’ musical side-project, quickly gained momentum and took on a life of its own. Monster Truck self-released a self-titled EP produced by Gus Van Go & Werner F (The Stills, Preistess, Hollerado) in 2010 and followed up with The Brown EP (2011) produced by Eric Ratz (Billy Talent, Cancer Bats, Three Days Grace) on Indie powerhouse Dine Alone Records. The Brown EP aggressively showcased the band’s ability to keep a firm grasp in the classic roots that enabled them, while staying contemporary and true to their vast influences. Singles “Seven Seas Blues” and “Righteous Smoke” became runaway hits reaching Top 10 on Canadian Rock radio and true to their notorious maxim “Don’t F*ck With The Truck”, the band hit the road with a vengeance. Tours included a 2011 cross-Canada sold-out run with The Sheepdogs. Additional tours followed in 2012 when Monster Truck was handpicked to open for Slash on his North American tour, as well as sold-out dates in support of legends Deep Purple.

After an unexpected, yet highly successful year of relentless touring, Monster Truck returned home hell bent to record a full-length album. Over the course of 2 months, the guys put together 12 original songs showcasing not only their determination to continue churning out heart-pounding rock tracks, but that also highlighted another dimension to the band’s songwriting and performance. The result is their debut full-length LP aptly titled Furiosity.

Produced once again by JUNO-nominated Eric Ratz at Vespa Studios in Toronto and Echo Mountain Studios in Asheville, NC, Furiosity showcases Monster Truck’s ability to seamlessly integrate influences from grunge and punk era greats that they love so dearly with alt-sounding vintage rock. The resulting album remains anchored in grooves, yet propulsive and volcanic, fueled by frontman Jon Harvey’s colossal vocal delivery.

The album impressingly runs the gamut from crushing first single “Sweet Mountain River” which features a highly infectious chorus juxtaposed against a killer riff, to tracks like “The Lion” and its definitive old-school, boogie-rock vibe. “While the bulk of songs were written and executed in fairly quick fashion, tailoring the pace and fine tuning the transitions took longer than usual,” says Widerman of the writing process. “We really wanted the songs to take the listener on an exciting journey.” Gems like “Old Train” featuring epic gang vocals were in fact kept under wraps from the producer and the label until the band reworked them to their liking while “Power of the People” — a Rage Against The Machine inspired track — is a commentary on a society in turmoil and an anthem for those who wish to band together and make a difference.

The band intentionally challenged themselves with “For The Sun”, spending more than a year playing the song live in order to perfect it. Slower-paced and with thought to ensuring every moment was well-crafted and building in intensity, Widerman spent 2 days in the studio just recording the intro and solos leaving other members of the band to wonder whether he would ever be satisfied with the end result. Finally, last minute addition “My Love Is True” shows a more soulful side of Monster Truck, and is another shining example of how even a down tempo song can shake you to your core.

The constant show regiment and recording process is sharpening the band’s delivery and there’s no doubt that anyone still interested in original and authentic rock music will be compelled to pay attention. Monster Truck will continue doing what they do best, steamrolling from town to town leaving legions of fans in their wake.


Current Swell New Years at The Capital Ballroom

Current Swell invites you to in ring 2019 with them at the Capital Ballroom!! We’ve been busy working away at the studio since our Rifflandia gig and we want to rock out one final time in 2018.

Current Swell invites you to in ring 2019 with them at the Capital Ballroom!! We’ve been busy working away at the studio since our Rifflandia gig and we want to rock out one final time in 2018.

Monday December 31st, 2018
Capital Ballroom – 858 Yates Street
Current Swell and Guests (TBA)

Doors at 8:30PM | First act at 9:30PM

Tickets are $45.00 + fees available at Lyle’s Place and Ticketweb.ca  @ 10AM

Direct link to TICKETS



Scott Stanton; vocals and guitars, Dave Lang; vocals, harps and guitars, Louis Sadava; bass and vocals, Chris Petersen; drums and vocals. Every song has a story. With Current Swell’s third Nettwerk Records release, When To Talk And When To Listen, these stories cut deep. Grammy-winning producer Jacquire King (Kings of Leon, Tom Waits, Norah Jones, Cold War Kids, Of Monsters and Men, James Bay) produced the album over four weeks in two vastly different locales: Nashville and Vancouver.

The former is where King lives and does most of his studio work; the latter is a ferry ride away from where Current Swell makes its home. Both cities have music at their core, which gave King and Current Swell common ground on which to build their new relationship.

Yet, tensions ran high early on. During the first night at Nashville’s famed Blackbird Studios, King cut short the sessions and told the band to come back when they had something worthwhile to say.

Current Swell was talking loud and saying nothing. A blunt, band-only meeting quickly cured what ailed them. They went back to their first-ever phone call with King months earlier, when they discovered he had an extensive list of questions and ideas for each song – long before they had ever even met. The four friends returned the following day ready to create. “He said we had finally tapped into that spark he heard in the very first demos we sent him,” recalls frontman Scott Stanton. “It helped create trust. He knew as much about the songs as we did. He pushed us because he knew we had it in us to make a really great record.”

Like all good rock ‘n’ roll should, When To Talk And When To Listen touches on all facets of the human condition, from the heartbreak and spurned love of first single “It Ain’t Right” to a pair of songs about loss that form the emotional core of the album. “Marsha” is about the inner dialogue Stanton often has with his mother, a piano teacher who died at 46 of breast cancer when he was in Grade 9. “She is still part of me in a way, so I often talk to her when I need advice,” he says. “I feel like my mom would be really proud of it.”

Band member Dave Lang wrote title track “When To Talk And When To Listen” when his father-in-law was nearing the end of his life. Lang and his wife were getting ready to welcome their first child around the same time, which felt like a cruel twist of fate. After taking stock of the reality he was facing, Lang says the words came pouring out. “We knew he wasn’t going to be around when our daughter was born, and he was going to miss out on meeting her. And I started thinking: ‘What if that happened to me? What would I want to pass along?'”

Current Swell’s track record in its home country includes two No. 1 singles on iTunes Canada’s rock chart and a Top 10 record on the commercial rock charts in Canada for 2014’s Ulysses. But all signs point to When To Talk And When To Listen – an album of rich song writing and vibrant musicianship – casting a much wider net. That means more pressure will exist. Which is why this album has to be unlike any Current Swell recording to date. “For Ulysses, we jammed all the songs, went in the studio and played them,” Stanton says. “For this, we started from scratch. We dissected everything. Out of any album we’ve done, this one really captured what I was hearing in my head.” “It Ain’t Right” is an apt example. Stanton infuses the album’s lead single with a keen eye for relationship details, the band rumbling away beneath him as it reaches an apex. “I thought you were different,” Stanton sings, highlighting the narrator’s serious interconnectivity issues. “I thought you were cool, but it ain’t right.”

The group as whole found a new level of confidence on the recording. Some of that can be credited to King, who pushed Current Swell to find a new side of their artistic selves, Stanton says. “He would never say something just to say it. But he always wound up being right. He was like a coach.” A solid fanbase has taken the group across North America several times and into countries such as Brazil, where a pair of headline tours brought them to thousands of rabid fans. “We’re very comfortable in certain parts of the world with our success,” Lang says. ”

But I know this record is one that can take us to new places.” Stanton and Lang use one word – educational – to describe the process of recording separately at Blackbird in Nashville and the Warehouse in Vancouver. They are studios with rich histories – not to mention a client list that includes Bruce Springsteen, Red Hot Chili Peppers, AC/DC, Taylor Swift and R.E.M. Current Swell had developed a comfortable way of recording until King came along.

He succeeded in propelling them to greater heights, pushing the band to realize its potential. Urging them to dig deeper. “He was not afraid to share the hard truth that you know is in the back of your mind,” Lang says. “And he was not afraid to bring it to everyone’s attention. It was cool to be pushed like that.” Now, it is time for Current Swell to push back. Lang says the group will take its music to the world this year, showcasing the heart and soul it took to create When To Talk And When To Listen. “Anyone can make an album,” he said. “But we knew this record had to be good.”

Check out more events happening over the holidays at: https://playinvictoria.net/events/

The Zone’s Band of the Month Showcase #1

You’ve rocked out to their songs on the radio all year long…now it’s time to join us to see our 2018 Bands of the Month perform LIVE at Capital Ballroom this November!

Nov 16 lineup (in no particular order):
Wise Youngblood
Stinging Belle
Hush Hush Noise

**NEW** This year, you can’t buy your tickets. Instead, we’re giving them ALL away!

Listen to The Zone for your chance to WIN your way in!

The Zone’s Band of the Month Program is made possible by Long & McQuade (Victoria) & Rocktographers

Just Announced: Yukon Blonde/The Zolas – December

Yukon BlondeAtomique Productions and The Zone at 91-3 present…

Yukon Blonde & The Zolas
plus guests
Thursday, December 6
Capital Ballroom
Doors: 8:00 PM

Advance tickets: $25.00 – Available at Ticketweb.ca (bit.ly/YKBZLSVIC) and Lyle’s Place

“Be the reference.” That’s the mantra Yukon Blonde tacked up on the studio wall during the sessions for their fourth album, Critical Hit, and it emboldened them to rip up the indie rock playbook and embrace a synth-dazzled new sound that’s easy to love but difficult to pigeonhole. Now a decade into their career, Yukon Blonde are following no one except themselves.

Critical Hit began at a literal crossroads: after a tour, singer-guitarist Jeffrey Innes flew to Madrid to be with the woman he had met on tour in Spain, while his bandmates James Younger (bass), Brandon Scott (guitar), Rebecca Gray (keyboards) and Graham Jones (drums) headed back home to Vancouver.

This kicked off an artistic free-for-all, as Jeffrey spent the better part of the next year and a half wandering Madrid, penning lyrics in art galleries and chronicling the rise and fall of his relationship. “Everybody in Madrid was so inspirational,” Jeffrey remembers. “There are folk singers on the street and everybody believes they’re an artist. Being there, the pressure was off for writing music. I didn’t feel like I was writing for anything — I was just happy and inspired to make music.”

James also visited Spain — he initially stayed in a haunted 15th-century farmhouse across from Gibraltar, and then he joined Jeffrey in Madrid. Together, they worked on songs that were unabashedly pop, but without clear sonic reference points. Disco beats mingled with achingly nostalgic keyboard tones, while bittersweet breakup lyrics were sung in euphoric harmony.

“We would be at a cafe in Madrid, smoking and drinking beers, listening to demos and deciding what songs were going to go on the record,” James reflects. “Nothing was different except the location was completely absurd and amazing.”

The band reconvened on Canada’s West Coast, in a house on Galiano Island where they laid down the initial demo tracks, many of which ended up on the final record. They then took these tracks to Toronto with producer Thomas D’Arcy (Hannah Georgas, July Talk, The Sheepdogs) and captured two songs in Vancouver with Steve Bays (Hot Hot Heat, Mounties). The tracks were mixed by super-producer Tony Hoffer (Beck, M83, Phoenix).

The resulting 13 tracks push the envelope of 2015’s On Blonde even further, doubling down on that album’s electro-pop influences while still retaining the five-piece’s live spontaneity. Pop anthems like “Crazy” and “Summer in July” channel romantic longing via sublimely twinkling synths, while James takes the spotlight for the soulful falsetto vocals of “Cry,” and Brandon’s mournful “Dear Nancy” is laden with organic strings. “The Bluffs” and “Feeling Digital” are full-blown dance bangers that are guaranteed to explode during sweat-drenched shows. Although the band had written several straightforward radio singles during the sessions, these were left on the cutting room floor in favour of richer and melodically denser material. For the first time, Jeffrey shares frontman duties, with James and Brandon each singing two songs.


The Zolas – “Bomb’s Away” – www.youtube.com/watch?v=snnEkfZ4y5w

The Zolas
The Zolas

Anyone who caught on to the slow-burn success of 2012’s desolately hook-laden Ancient Mars could sense that something in The Zolas was threatening to bubble over, and after a year of recording, 2015’s Swooner (Light Organ Records) shows an alternative pop collaboration at the top of their creative game. Original members Tom Dobrzanski and Zach Gray have been joined by another longtime duo Cody Hiles and DJ Abell and this is the first album they’ve completely self-produced at Dobrzanski’s Monarch Studios in Vancouver.

Swooner marks a major departure from both the cabaret rock of 2009’s Tic Toc Tic and the atmospheric minimalism of Ancient Mars. This time around the band dove headlong into vibrant, experimental pop, stirring modern production into the influences that surrounded them as kids growing up in the ‘90s.

“This is the most ‘us’ of anything we’ve done,” Zach observes. “It’s fun to be in an era of music where people are ready to appreciate messed-up combinations of influences, and we had a good time pushing that.” Even just in the rhythm section you can hear these mispaired influences crop up in unexpected places. Drums that revolve from Queens of the Stone Age to Dr. Dre, bass textures evoking The Pixies or Kraftwerk. Instrumentally the album features flashes of grungy hard-panned guitars, Prince-like synth flourishes, eurodance vocal samples, watery electric pianos and arpeggiators, all of which feel shockingly comfortable in their new homes.

Swooner moves on from Ancient Mars’ lost love and nostalgia into a cross-section of conversations between a generation of friends about life in 2015; the balancing act we all reckon with between fun and dread. “This album is about how fucked up it feels to step out for a cigarette and a quiet moment at a party, read about disease and climate catastrophe on your phone, finish your cigarette and go back in to dance,” says Zach. “Songs about pre-drinking in your apartment, party drugs in Europe, political arson, jerking off to internet porn, pure love in a group of friends, being single and how great it is, being single and how much it sucks, finally realizing what you want to fight for and then getting distracted. It’s the realest, most fun album we’ve ever made by far.”


Jesse Roper plays the McPherson October 12

Atomique Productions and The Zone at 91-3 present…

plus guests
Friday, October 12
Royal Theatre & McPherson Playhouse
Doors: 7:00 PM
All Ages

Advance tickets: $29.50 – $75.00 + s/c – Available now at www.rmts.bc.ca (bit.ly/JSSRPRVIC) or at the Royal or McPherson Theater Box Office

***UPDATE*** Second show added! plus guests at on Saturday, November 17. Advance tickets on sale Thursday, September 6 at 10:00 AM!


Jesse Roper – “Access To Infinity”

Jesse Roper – Photo BradEdwards

Jesse Roper is bringing his electrifying live performance in support of his latest album, Access to Infinity. Kicking off the Canadian tour on October 12 in Victoria at the McPherson Playhouse.

“If I could be on the road 364 days a year I would. No joke. I feel alive when I’m on tour,” said Jesse Roper. “It’s my dream to see the four corners of this crazy planet and have music as my vehicle. I love the road and the road loves me back.”

Produced by Ian Davenport (July Talk, Band of Skulls, Supergrass) Roper’s third album Access To Infinity encompasses the raw riffing on which Roper has built his reputation, combined with a modern take on the psychedelic explorations of Jimi Hendrix and Pink Floyd. Since the album’s release early this year, Roper has reached 2.8 million streams on Spotify and has hit the stage with numerous other top acts including, Big Wreck, Johnny Reid, Tash Sultana and Burton Cummings.

Access To Infinity follows Roper’s celebrated 2015 album Red Bird, which captured much of the fire of his dynamic live show. He’s also played festival sets at some of the best western Canada has to offer, including talked-about appearances at Rifflandia, Rock the Shores, the Burnaby Blues and Roots Festival and BreakOut West, among others.