I’ve been pretty quiet over here, tucked as I am in my life with all it’s ins and outs and comings and goings, but that doesn’t mean things aren’t metamorphing under this bundle of silence. While I’ve been focused a lot on Firebird these past couple years, it has felt important for me to continue with my own solo project. Releasing Symphony of Sorrow was just the beginning of that.

There’s no doubt that this album is kinda a selfish endeavour. The end of my previous project, and that relationship, was one of the most difficult things I’ve been through. This album has a lot of songs on it that were Heartwood songs (written by me, performed by Heartwood), but now reclaimed my way. The HW album that never came to be had some good songs on it and I am reticent to let them go just because that project didn’t work out. And so I find myself back in the studio with Corwin, getting some previously recorded tracks back from JC and reclaiming, in a personal way, some of this material.

A couple kind of wild things have happened during this process. One was when I went to Creative BC music grant seminar in Nanaimo. I hadn’t had plans of writing another grant (being gun-shy of my last experience) but something propelled me to just go. Maybe it was because it was being facilitated by the fellow who had seen HW through our last grant (and epic album fail). Subconsciously maybe I wanted to meet him in person, face him and put some closure to that experience. And when I finally mustered the courage to introduce myself, his recognition, kindness, enthusiasm ad reassurance was almost staggering. He said that that HW experience had created some artist-friendly policy changes within Creative BC, that he often thought of us and he knew all about my other project. He encouraged me to seek another grant to help complete my new solo album. The whole conversation brought us so much emotion- relief and grief mostly- that I had to cry in my car for a good while before driving home. It took a few days to let it really sink in and process. Ultimately that was a profound interaction that really encouraged me to proceed.

The second wild thing that happened was more recently. Corwin sent a few tracks that he had added parts onto. I didn’t know what to expect when I put the headphones on and pressed play. What I experienced was Corwin’s voice singing harmony on HW songs. Songs that were always very much attached to JC’s voice. Corwin had learned all the words by ear, and his gentle, soothing voice felt like a balm to my soul. It sounds cliche to say it that way but it’s honestly the best way to put it! Maybe it’s because I love and trust Corwin so much, it felt like a hug that he had learned it all, sung it with such tenderness, and, in a way, replaced JC’s voice in a way that felt, again, like a re-claim.

It’s hard to adequately express these feelings, and I don’t mean to disrepect the incredible work and voice of JC, who was my co-creator and co-conspirator for 4 years. He sunk an enormous amount of time and love into my songs. But reclaiming these songs, and, in a way, that part of my life, has felt like a vital thing to proceed with the ongoing task of shedding. I’m still a bit of a pupus but I can feel the wings beginning to stretch, and the chrysalis is starting to crack.

So I just learned (via text! lol) that I am a top three finalist in the Folk Category of the John Lennon International Songwriting Competition. The text was like “We hope you got our email. You are a winner. You must respond ASAP!”

Wut?

I had to quickly (and with much persperation) scan through my emails to find the winning notification and when I didn’t see it, implored for a resend. It arrived. Yes! Top three runners up in Folk Category. Thousands of competing entries. Prizes!!! Holy cowzeramma.

I wrote this song when I had a lot of big feels going on. This break up was one of the hardest things I have ever had to do. But I knew it had to happen and I used music to make it happen. That’s what this song is about. It’s at once a love song and a song about autonomy and hope and renewal. Also, it has all those interseting elements (I think) from a songwriting perspective (see below).

Anyway. I now really, really want to record a whole album with Adrian. We shall see if I can make that happen. My new project Firebird heads into the studio this fall to record as well, so at least there is more new music on the immediate horizon!

LISTEN HERE

It’s officially released!! Symphony of Sorrow is now available on all the places. Don’t worry- it sounds more depressing than it is. Though I was devastated when I wrote it, it is actually a hopeful song about moving through greif by using music. It’s no secret that it has been a bit of a tough go for me lately. But I feel incredibly grateful to have songwriting to help me process big feelings. It’s my therapy.

See if you can identify the lyrical references to a very popular Canadian song… and let me know if you catch which song!

The song premeired on Canadian Beats on Tuesday March 14, and released to all streams on Wednesday March 15th. So far the response has been wonderful. I am so indebbted to the marvellously talented Adrian Dolan for his production, composition and playing talents, to Scott White for his wonderful bass playing and to Duncan Ferguson at The Voltage Exchange for mastering. And to Jack Connolly, for, well, everything else I guess. ❤

Symphony of Sorrow Lyrics

The music bound us like a thread

Weaving words between our heads

We spun a tale, a golden sunlit story

And yet we falter soft as snow

Candles snubbed and faded glow

The winter calls our bluff and ends the glory

I tried to give you heart and home

I didn’t mean to break your throne

I know you didn’t mean to fracture mine

But what good man who gives up all

Could handle such a fatal fall

When broken by the twists and turns of time

I…. will find the melody

I…. will find the rhyme

This baffled queen

has never been

Laid so low

All i can do

Is offer you

My symphony of sorrow

And though I tried to tell my truth

It rarely did align with you

Beyond the solace of the stage or bed

I remember when you moved in me

The howling wolves who set us free

And stars that all exploded in my head

Don’t know how we could be saved

We’re up against the demons and the plagues

A love so strong a love so great

Was not enough to see us through the gate

When i am lost in borderland

I fumble for your missing hand

And wonder where the words have all departed

I think about the bitter trade

I’m longing for my missing braid

The tower where this whole damn thing started

So in the light of this lonely moon

I lift a pen and craft a tune

And sing out all the sorrows of my heart

The 4th and 5th the rise and fall

Echo in the funeral hall

A requiem for dreams torn apart

After a long hiatus where I focused solely on Heartwood (and then of course covid arrived throwing everyone for a loop) I am returning with a solo single. Heartwood still has a bit on the go, but I felt the need to dig back into myself as it were. I wrote a song I am pretty proud of and I made the right decision to work with Adrian Dolan to produce it. Adrian is an accomplished musician, composer and producer and he wrote and arranged a simply gorgeous string part for the song, which is called Symphony of Sorrow (I will admit to it having been a tough few years). I can’t wait to get this song out there.

I have also started working on a trio project called Firebird with singer-songwriters Jeremy Walsh (guitar, bazouki) and Stephanie Cutler (keys). This project is a wee deviation in that it tends a bit more towards sensy-pop and less bluegrass. It’s been fun and challenging working up intricate three part harmonies. We had only had a couple shows and are working on getting all the stuff up and running to be abel to book more. And it’s been fun to work more brand-new songs with them! I have at least another two albums worth of material after these past few years!

So summer comes to an end, with lots of wonderful memories already simmering on the back burner. The stove pumps quart after quart of salsa out of the water bath, the deydrator spits out chewy dried apple, the home ejects bored kids back to school and the natural musican rhythm brings a turning to the autmn efforts of gathering new material for EPK’s, festival applications and gig booking.

Here is an interview that came out in Beyond a Song in August. I had a wonderful interview with Rick Reardin and it’s all here: Beyond a Song

Except for the odd show here and there, this fall is pretty quiet music-wise. I still feel extremely busy though- the winery  (Blue Grouse) is scheduling me a lot, I’m back to kung fu and kids are needing shuttling to and fro.

But, dear reader, the summer has thrown illumination on a certain fact. Heartwood is the way of my future I think, at least for the time being. There has been so much momentum and we are both so energized from the project. We did two wonderful shows with full band this summer and we were lucky to get live recordings from them so will be releasing a Heartwood Live album this fall. Plus we are both going to New Orleans for Folk Alliance in January!! Stay tuned for more on us at: Heartwood

It was great to have my new video picked up by Americana Highways and it premiered on July 6th!

YOU CAN VIEW IT HERE!!

Americana Highways brings you this video premiere of “Heart is a Tower,” the title track of the album produced and recorded by Jack Connolly at SLS Studios, released last May. “Heart is a Tower” is Genevieve Charbonneau on vocals and acoustic guitar, Jack Connolly on electric guitar, Brian Horwitz on percussion, Alex Rempel on upright bass, Daniel Lapp on fiddle, Eli Bender on cello and Laura Carleton on b/g vocals.

The video was produced by Sam Van Hell at Arcas Media, with animation by Fernando Gio and Magnus Scott at Shawnigan Lake School, under the guidance of Tracy Lewis.  Shot in a woodland setting that lends visual support to the song, Charbonneau’s vocals blend perfectly with the acoustic interplay like the story is floating downstream on a river of hope.  Like Rapunzel in her tower, Heart is a Tower is an inspiration and a testament to the strength behind myths and narratives.

“Heart is a Tower” is a feminist look at power in relationships using a mythical allegory, particularly the Rapunzel fairy-tale. It was inspired by some personal dynamics that I was observing both in my own life and in my community of women friends. I wrote the song within an hour of its inception and found myself compelled to play it repeatedly for weeks. It seemed natural for it to become the title track of my 3rd album with its theme’s of love, relationships, family and feminism.

So Heartwood is currently on tour in the Interior of BC and it’s been a marvellous tour so far, with gorgeous drives, great audiences and perfect weather (ok, some showers, but it’s NEEDED and lovely nonetheless).

We’ve done some wine tasting (I’m doing my darndest to turn Jack into a wine-lover), nature walks and have been going for a run every day (I know, I can hardly believe it myself). It’s been a welcome little break from my regular life of kids and cooking and working. We’re working on new songs for an upcoming Heartwood EP, which has been SUPER fun…. I love working out harmonies and arrangements. So summer 2019 is so far so good.

So the other day Jack and I got interviewed for a local “what’s on” magazine. We were supposed to talk about our upcoming tour, my recent album release and the local festival we’re playing at this summer. But somehow we got swept into a detailed description of our personal-life journeys. Or maybe it was just me- I guess I needed to talk to someone and explain EVERYTHING, the whole long and sordid tale of my recently-split relationship and what’s happened to me since. The past few years have been earth-quaking, life-changing and it’s not my nature to be frugal with my honesty, especially when there’s an open and receptive ear. Andrew had a pen in his hand but he didn’t write a thing down; “That’s not for this publication” he said. But he was intrigued enough to want to write a full-length “human interest” piece on my/our story…

So now I wonder about the nature of being a public figure, especially a songwriter, whose tales and truthes are so visible/audible: do we tell EVERYONE EVERYTHING in the interest of human truth? Or do we protect those beloved people in our lives who might not want the attention, interest or judgement of strangers? Where is the line and how do we judge? Is it my duty to protect or is it other’s to prevent? I am by nature so open and honest and it just feels right to me to be so. But not everyone feels that way. Is there someway to balance the two? It’s been one of the major struggles of my life…

Still grappling.

In the meantime, I am happy to have had a wonderful CD release tour, despite the book-ending of BROKEN GUITAR (dropped onto concrete, first show) and STITCHES IN THE FINGER (kitchen knife accident, second to last show). Songs from the album have now been played on many folk DJ playlists across North America and I just had an interview for a PRX syndicated show called “Beyond a Song“. It’s been cool to see how many people have added me to their playlist in the past couple weeks.

To support my Heart is a Tower project, and create a video that might be seen and shared, I hired Arcas Media to help me make a video for the title track “Heart is a Tower”. It combines the animation made by Shawnigan Lake School students with live footage to make something compelling, expressive and that captures that mythical element.

So the next major thing is that Jack and I head off to the interior for a Heartwood tour. It’s partially to promote my new album and partially to promote the new duo, which I feel super-excited about. I hope to catch you and meet you at a tour. And I promise, I’ll be honest.