Entangados is a growing global collaboration of party instigators. The eight piece band are creating a movement through original musical performance & live theatrical production. Their humorous, energetic delivery is an eclectic experience of cumbia, cuarteto, ska, rock, reggae, balkan music paired with a long list of sassy-yet-gritty latin grooves inspired by the underground music scene in Argentina. Delivering to audiences from Perth to Peru, all wrapped up with outrageous stage antics, they’re crazing around to a town near you! What started as a comedic musical duo from Cordoba, Argentina in 2004 has grown into a crafty clown combo, ready to create a party from the sound up at any given chance. More than a decade later Entangados draws its talents internationally from Colombia, Mexico and Canada! Performances don’t spare any change for sideshow amusements. Drawing inspiration from Cirque du Soleil, Mano Negra, Gogol Bordello and Goran Bregovic, their interactive show combines more than just music; infectious onstage banter and dance lessons, all multiplied by their positive presence and energetic storytelling enjoyed by audiences of all ages. Their stage style is a collaboration of over-the-top outfits & wonderful, wacky weirdness. With more than 70 years combined experience, they’re not short of a buck to deliver a dance-your-heart-out discography. Including their released albums "Energión", "Libertad Expression" and the DVD "Que Culiau", a live-recorded visual memory of the crew's celebration of their 10 years, showing what the party is like down south. "Even though they may dress like clowns, Entangados might be one of Argentina’s most unique, exciting bands. Combining ska, rock, cumbia, salsa and balkan folk music, Entangados emanate fun and joy from the stage with the power of 1000 suns. With two electric guitars, horns, accordion and percussion, the band builds a wall of sound that acts as powerful catalysts to the biggest dance parties". - Victoria's Ska and Reggae Festival Link: https://www.youtube.com/watch?v=gjZaI1PspRA

Harry Manx has been dubbed an “essential link” between the music of East and West, creating musical short stories that blend the traditions of the Blues with the depth of classical Indian ragas. The result is a sound that is uniquely bewitching and deliciously addictive to listen to. Manx forged this distinctive style by learning from the masters. He began his journey as a sound man in the blues clubs of Toronto during his formative years, and later underwent a rigorous five-year tutelage with Vishwa Mohan Bhatt in India. Bhatt, the inventor of the 20-stringed Mohan Veena, introduced Manx to the instrument that would become his signature. Even though he had already been playing slide guitar for years before arriving in India, Manx started again from scratch under Bhatt’s instruction—even relearning how to hold the slide bar. From there, he immersed himself in Eastern scales and eventually Indian ragas: complex, structured musical patterns that form the foundation of Indian classical composition. Each morning, Manx would practice for three to four hours in Bhatt’s home, returning in the evening for jam sessions with his tutor, Bhatt’s sons, and other musicians. “Sometimes I’d throw in some blues licks in the middle,” he says, “and everyone would fall over laughing and enjoying themselves. And I thought if I can get Indian people to enjoy Western music like that, then maybe I could get Westerners to enjoy Indian music, too.” That realization sparked Manx’s journey to explore the intersection between the two musical traditions. His unique style follows in the footsteps of pioneers like Joe Harriott and John Mayer’s Indo-Jazz Fusions of the 60s, John McLaughlin’s work with Shakti in the 70s, and Ashwan Batish’s Sitar Power debut in 1987. Yet, Manx’s Indo-blues hybrid might be the most universally appealing of them all—a style shaped by the nomadic life he has led and embodied in his charismatic musical persona. Born on the Isle of Man, Manx immigrated to Ontario with his family at the age of six. He started doing sound at just 15 and eventually became a regular sound man at Toronto’s famed El Mocambo club, working with many blues legends. Although he doesn’t consider himself a traditional blues artist, Manx acknowledges that blues remains at the heart of his work. “I’ve always had one foot in the blues from those days,” he says. “What I got from those artists is a groove that’s fairly similar to theirs. That’s what I’m particularly interested in—the groove, and that’s the way I play blues today.” Manx’s musical journey continued when he went to Europe at age 20, making a living as a street busker. “I’ve worked only as a musician since then,” he recalls. “Few people know that I was actually a one-man band with a drum-and-bass feel to my sound. I still have that one-man-band sound.” During his time in India, Manx spent significant time meditating with various spiritual teachers, an experience that imbued his music with an intangible spiritual depth. “I always cloak my messages with inspirational ideas in a story,” he explains. “I also try and reach the listeners’ hearts rather than their minds. With the mind, there’s always a filtering of ‘I agree’ or ‘I don’t agree.’ I like to engage people’s hearts.” He believes that his personal development through meditation has influenced his music as much as any musical training. “My songs are a synthesis of everything I’ve absorbed. We’re the sum of all of our experiences.” Years of busking in cities around the world taught Manx how to truly connect with an audience. His training in India shifted his musical approach to focus more on the energy exchange between performer and listener. What makes Harry an exceptional performer is his ability to give himself entirely to the music in the moment, creating a deep emotional well that the audience can draw from. It’s in the live setting, he says, that the bridge between the “heavenly” music of India and the “earthy” roots of American blues is most effectively built. “Indian music moves inward,” Manx explains. “It’s traditionally used in religious ceremonies and meditation because it takes you into a whole other place. But Western music has the ability to move outward, into celebration and dance. There are ragas that sound bluesy, and there are ways to bend strings while playing blues that sound Indian. I may be forcing the relationship between the two musical cultures, but I keep thinking they were made for each other. That idea leads me to more and more experimentation, and the journey has been great so far.” A prolific artist, Manx released nine albums in an eight-year span, showing no signs of slowing down. He has earned seven Maple Blues Awards, five Juno nominations, the Canadian Folk Music Award for Best Solo Artist in 2005, and CBC Radio’s “Great Canadian Blues Award” in 2007. His latest album, *Bread and Buddha*, is another blend of blues, roots, world, and folk. The record took nearly two years to complete and features a rich instrumentation including piano, organ, drums, bass, and scored strings. The songs are a poignant reflection on the ephemeral nature of human life. Blending Indian folk melodies with slide guitar blues, adding in a hint of gospel and irresistible grooves, Manx has created his own “mysticssippi” sound—an intoxicating and soul-stirring musical experience that leaves listeners wanting more.

FolkyStrumStrum brings an energetic, heartfelt show. Hailing from the Peace River Region of British Columbia, we specialize in Alternative Northern Folk Music that blends traditional folk with modern influences, offering a fresh and dynamic experience for every audience. Having performed at over 40 festivals, we’ve honed our craft and built a loyal fan base across the region.

Built on emotion-stirring storytelling and unmistakable vocal harmonies accompanied by a century-old instrument, Burnstick, a JUNO nominated husband and wife Folk duo, are intent on creating affecting music that inspires listeners to feel. The Manitoba based Indigenous duo features Nadia and Jason Burnstick, esteemed independent artists who united over a decade ago to create deeply moving, cinematic Folk music using their trademark vocal pairing, and Jason's mastery of the lap slide Weissenborn guitar. Five years after their nationally acclaimed debut album, "Kîyânaw," Burnstick unveils "Made of Sin", their remarkable and poignant sophomore album. Backed by their drummer, Daniel Roy, Nadia and Jason perform deeply resonant music that strikes a chord with audiences. With thought-provoking lyrics and engaging stories, they often leave listeners reflecting on their own experiences, feelings, and memories. C’est une musique folk née de la complicité qui ne peut exister que chez un couple marié. Le guitariste Cri-des-Plaines, Jason Burnstick, et l’auteure-compositrice francophone-métis, Nadia Burnstick, sont deux interprètes pour qui les voix s’entremêlent avec aisance. Jason s’équipe de Weissenborns, de guitares « lap slide » et d’une écriture dure et franche tandis que Nadia rayonne grâce à ses harmonies vocales séduisantes et ses paroles pénétrantes et honnêtes – on ne peut nier la magie qu’ils évoquent lorsqu’ils sont ensemble sur scène. En 2019 ils ont lancé leur premier album folk-roots, Kîyânaw, nominé pour un prix JUNO en 2021. D'ailleurs, leur extrait Some Kind of Hell a remporté le prix "Single of the Year" aux Canadian Folk Music Awards. Ensemble, Burnstick crée une musique folk rafraîchissante et captivante.