shadow
BRUCE COCKBURN > Articles by: adminsuper

Interview w/ Legendary Canadian Singer/ Songwriter Bruce Cockburn on new album “O Sun O Moon”

Thursday May 18th, 2023

[ direct link: https://youtu.be/dTM0kSMwsbc ]

Legendary Canadian singer/ songwriter Bruce Cockburn has not just released a new album but is also back on the road with a tour. Rudy Blair Entertainment Media (rudyblairmedia.com) speaks with the multi Juno Award winner about his thoughts on the late Gordon Lightfoot, his tour, the story behind one of his greatest hits “Wondering Where The Lions Are” ( https://bit.ly/3IfMEM7 ) and his latest album “O Sun O Moon” featuring the single “Colin Went Down To The Water”

Credit: Rudy Blair
rudyblairmedia.com

(Video background created by Motion Graphics provided by https://www.tubebacks.com

[ FIND MORE REVIEWS HERE ]


Bruce Cockburn “O Sun O Moon” – review

May 25, 2023
by Graham Bollands

Album number 38, and twelve new songs as powerful as anything he has ever written.

Bruce Cockburn is an inspired singer-songwriter and an exceptional guitarist, and on ‘O Sun O Moon’, his 38th studio album, this award-winning Canadian artist demonstrates that he is not letting up and that he still has plenty to say. “Time takes its toll, but in my soul I’m on a roll,” he sings on the opening track, and without a doubt he is. On the eve of his 78th birthday, Cockburn has released twelve new compositions as powerful as anything he has ever written.

Exquisitely recorded in Nashville with his long-time producer, Colin Linden, ‘O Sun O Moon‘ exudes a newfound simplicity and clarity, as Cockburn, who is renowned for tackling themes such as politics, human rights and environmental issues, focuses on more spiritual than topical concerns this time around. His mood is reflective, and many of the songs strike gentle tones, from the jazz sway of ‘Push Comes To Shove’ to the folky drones of ‘Into the Now’ and the beautiful ‘When The Spirit Walks In The Room’, and from the string-laden ‘Us All’ to the hymn-like ‘Colin Went Down to the Water’- an achingly sad song describing the drowning of a friend. And ‘Haiku‘, the only track with no vocals and a throwback to his last studio recording, 2019’s Crowing Ignites which was a collection of all instrumental songs, is a wonderful four-minute showcase of his fleet-fingered guitar work. That’s not to say that there aren’t louder and more upbeat moments, most notably the urgent, driving resonator guitar on ‘On A Roll‘ which Cockburn plays with all the vigour of his veteran blues heroes, and the buzzing dulcimer on ‘To Keep The World We Know‘, where he is joined by co-writer of the song, Susan Aglukark, to voice concerns about the growing threat of global warming.

In keeping with so many Cockburn albums, the musicianship is superb. Along with long-term friends Linden (guitars), Janice Powers (keyboards) and Gary Craig (drums), the album features bassist Viktor Krauss, drummer Chris Brown, accordionist Jeff Taylor, violinist Jenny Scheinman and multi-instrumentalist Jim Hoke. And his guest vocalists include Shawn Colvin, Buddy Miller, Allison Russell and Sarah Jarosz, who also plays mandolin, along with Ann and Regina McCrary, daughters of gospel great Rev. Samuel McCrary, one of the founders of the Fairfield Four. The McCrary sisters shine brightest on the title track, the full name of which is ‘O Sun by Day O Moon by Night’. They sing the euphoric chorus of the song which relates, during spoken verses, a dream Cockburn had in which he makes the journey to heaven. “In the dream, which was really powerful,” says Cockburn, “I see myself silhouetted on a ridge with this jar of blood pouring it on the soil. It wasn’t scary or disturbing at all.”

The album’s jazzy closer, ‘When You Arrive’, finds Cockburn confessing to feeling his age when he sings “You’re limping like a three-legged canine, backbone creaking like a cheap shoe.” But it’s clearly a song of acceptance, about eventually slipping one’s mortal coil, as he’s joined on the chorus by all of his guest vocalists, singing “bells will ring when you arrive.” He may be feeling his age, but this superb album demonstrates that there’s a huge amount of life in him yet, and it has every chance of standing as one of the best of his long and distinguished career.

Credit: Graham Bollands
americana-uk.com/bruce-cockburn-o-sun-o-moon-2

[ FIND MORE REVIEWS HERE ]


All About Love – O Sun O Moon, Bruce Cockburn (True North)

27 May 2023

All About Love

O Sun O Moon, Bruce Cockburn (True North)

There was talk a little while ago, of Bruce Cockburn’s new album being like some of his (much) earlier work. For some of us that hopefully meant a resurrection of the Tom Verlaine-esque guitars on parts of 1978’s Further Adventures of, or the acidic despair and social observation of divorce album Humans and its follow up, the even grittier Inner City Front. But actually what it turns out to be is a return to the kind of music Cockburn made even before those: O Sun O Moon is a laid back singer-songwriter album, exquisitely arranged and produced, with vocals and acoustic guitars to the fore.

Cockburn is 78 and still going strong. He’s been making albums since 1970, I’ve been seeing him in concert since the late 70s; I even wrote my undergraduate dissertation on his work. Every time I think I might not worry about listening to new Cockburn albums any more he releases one that tries something different and re-energises my interest. At times that has been a renewed political engagement, at others a change in his band line-up, producer or just the fact he manages to succinctly capture the moment.

O Sun O Moon is a surprise turn away from political and social satire or commentary to a more personal, and also seemingly more straightforward, blues and folk based music, where texture and arrangement are the focus. It’s subtle, enticing music that isn’t afraid to remain stripped back but also welcomes clarinet, upright bass, accordion, glockenspiel, saxophones and marimba into the mix as and when required.

Cockburn sounds relaxed and slightly gruff vocally throughout, quiet and contemplative, whilst the album sounds as though it was recorded next door. It’s warm and enticing, with love – be that romantic, spiritual or sexual – often posed as not only the answer but a command from above:

The pastor preaching shades of hate
The self-inflating head of state
The black and blue, the starved for bread
The dread, the red, the better dead
The sweet, the vile, the small, the tall
The one who rises to the call
The list is long — as I recall?
Our orders said to love them all
The one who lets his demons win
The one we think we’re better than
A challenge great — as I recall
Our orders said to love them all
(‘Orders’)

There’s also what reads as more zen acceptance than despairing resignation, as long as his lover is there:

What will go wrong will go wrong
What will go right will go right
Push come to shove?
It’s all about love
The sight of your smile fills my heart with light
(‘Push Come to Shove’)

Overall there’s sense of what-will-be-will-be and contentment. Wars and politics aren’t bothering Cockburn much at the moment, he’s not angry but more concerned with domestic routine (he has moved from Canada to San Francisco, and has a teenage daughter) and ageing gracefully. In fact dying gracefully. ‘O Sun O Moon By Night’ is a reflective song that looks backwards in time and forwards in hope:

Pain brings understanding
Your mistakes will set you free
To sink into the spirit?
To clear your eyes to see

O sun by day o moon by night?
Light my way so I get this right?
And if that sun and moon don’t shine
Heaven guide these feet of mine?
To Glory

whilst the final song, ‘When You Arrive’ starts with the lovely lines ‘Breakfast is Mahler and coffee? / Dinner’s Lightnin’ Hopkins and rye’, but notes that

You’re limping like a three-legged canine
Backbone creaking like a cheap shoe
Dragging the accretions of a lifetime?
But you ought to make another mile or two

before optimistically suggesting that the dead will welcome him in the end. (Yes, I know it says ‘you’re limping’ but I read it as poetic license.):

And the dead shall sing?
To the living and the semi-alive
Bells will ring when you arrive

Cockburn is an astonishing musician, performer, songwriter and political activist. Over the course of 38 studio albums he’s charted the ups and down of life, relationships and friendships, faith and doubt, embraced the urban and rural, pointed out political lies and encouraged revolutionary fervour. He’s visited and documented refugee camps, war zones and tropical paradises, campaigned for various causes and charities, turned nature into mystical visions and kept making great albums. This is one of them.

Credit:
Rupert Loydell

All About Love


A Breath Of Fresh Air – podcast interview with Sandy Kaye

18 May 2023

BRUCE COCKBURN: Canada’s Revered Singer-Songwriter And Activist – A Journey Through His Soulful Lyrics & Life Reflections

A Breath of Fresh Air podcast Sandy Kaye with Bruce Cockburn

My special guest today is the remarkable BRUCE COCKBURN a celebrated Canadian singer-songwriter and virtuoso guitarist whose music has been enthralling listeners for more than half a century. Bruce’s work is characterized by its profound exploration of spirituality, love and nature offering a thoughtful perspective on the world around us. His songs are celebrated for their eloquent lyrics and enchanting melodies which are deeply rooted in his personal journey and experiences. From his early days as a folk-rock artist in the 60s to his current endeavours Bruce continues to inspire and captivate audiences with his timeless music.

LISTEN to the 52 minute podcast

The key moments in this episode are
00 00 02 – Introduction
00 03 21 – Bruce Cockburn’s Music Career
00 07 10 – Political Songwriting
00 11 09 – Pursuing Music Passion
00 14 42 – Songwriting Process
00 19 20 – Bruce’s Journey to Christianity
00 24 25 – Wondering Where the Lions Are
00 33 10 – Changes in Bruce’s Music
00 36 40 – Bruce’s Interest in Aid Organisations
00 38 12 – The Beneficiary of the System
00 44 20 – Canadian Music Hall of Fame
00 45 50 – Rarities Album
00 48 06 – The Frontman
00 50 49 – Bruce’s Career summarised

I hope you enjoy my chat with this incredible musician and amazing human.

abreathoffreshair.com.au/episodes/bruce-cockburn/

Credit: Sandy Kaye
https://abreathoffreshair.com.au/


Bruce Cockburn – Reflections on Gord & New album ‘O Sun O Moon’ – Mulligan Stew

by Mulligan Stew Podcast – Terry David Mulligan

Mulligan Stew EP 254 - Bruce Cockburn

7 May 2023 – The Stew is with Bruce Cockburn..bringing stories of his 38th album O Sun O Moon. Plus memories of Gordon Lightfoot and his place in the music of the World and especially Canada.

LISTEN to the Podcast.

The Podcast is the complete interview with Bruce Cockburn on the release of his 38th album O Sun O Moon. And his thoughts on the music of and the loss of Gordon Lightfoot.


Bruce Cockburn – Poignant Infinity by Anil Prasad

2 May 2023 – Bruce Cockburn has consistently upended rock and pop expectations across his long, storied career. The Canadian singer-songwriter, guitarist, and composer has released 35 albums since embarking on his journey as a professional musician in 1967. His material is often infused with deep meaning, including informed and complex perspectives on humanitarian concerns, politics, war, and spirituality. And he combines those views with sophisticated, melodically-driven music that’s enabled it to resonate with people from all walks of life and generations. The numbers speak for themselves. He’s had 22 gold and platinum albums, in addition to 30 charting singles in Canada, the US, and Australia.

Cockburn’s songs aren’t driven by backseat observations of the world. His activist and spiritual leanings have been front and center in his life for decades. He’s a devoted Christian but doesn’t communicate about his path from an evangelical approach. Rather, he lets his actions and outcomes inform his output, focusing on how adhering to positive Biblical teachings have value to everyone, not just Christians.

He’s spent a great deal of time working with Amnesty International, Friends of the Earth, OXFAM, and The David Suzuki Foundation—just to name a few organizations—in their pursuit of critical relief efforts. Cockburn has also been outspoken on issues including climate change, famine, native rights, and third-world debt. In addition, he has spent time in Cambodia, Iraq, Mali, Nepal, Mozambique, Nicaragua, and Vietnam to contribute first-hand to solving the issues those regions face.

His incredible life story was captured in his detailed and evocative autobiography, Rumours of Glory in 2014. A nine-disc box set of the same name was also released that year, chronicling his musical evolution.

At age 77, Cockburn continues propelling forward with his new album O Sun O Moon, and a lengthy tour to support it. The recording is about this moment in time, for Cockburn himself, as well as humanity writ large and the many struggles it faces. It explores the intersections of political manipulation, how spirituality is abstracted from its intentions to drive greed and tribalism, and generational responsibility for stewardship of the planet. Perhaps most importantly, it offers an outlook on keeping one’s own psyche intact during these times.

Cockburn spoke to Innerviews from his home in San Francisco, where he moved in 2011. He reflected on the inspiration for key tracks from O Sun O Moon within contexts ranging from the personal and existential to the global and societal.

Bruce Cockburn 2023 - photo Keebler

To me, the new album is about priorities, focus, and spirit. What’s your take on the bigger picture it explores?

I think you’ve described it well. I suppose the focus comes from age more than anything else, but it’s also age in the time we’re living in. That latter aspect of it is normal for me. Pretty much all of my songs are responses to what I encounter. I mean, unless they’re fantasies. There are a couple of those in existence. But basically, my songs reflect the period of time in which they were being written and, in this case, that’s the COVID-19 and Trump era, with all this stuff that we’ve had flung at us.

You’ll hear me exploring myself as an older person in that context. There’s a lot of death on this record, but it’s not really specifically death itself. Rather, it’s the anticipation of the approach of that horizon and the kinds of feelings and thoughts that it engenders. The song “When You Arrive” is about that, but in my mind, it’s a kind of joyful song. Perhaps, darkly joyful or ironically joyful. I don’t see this as a dire thing, but it’s an important thing, worthy of attention.

The song “O Sun by Day O Moon by Night” also reflects a positive perspective on our inevitable departure. Tell me about the peaceful view it communicates.

Well, I think the negative perspective is everywhere. We entertain ourselves by watching thousands of departures over our lifetime on TV and elsewhere. But for me, it isn’t another step. I don’t really know what’s going to happen. My own belief is that I will be at least faced with an opportunity to get closer to God. What does closer to God mean? That’s pretty vague. I don’t believe in the Pearly Gates, although the dream in the song you just referred to kind of goes there. Rather, I see all that as symbolic and so I don’t really know what it’s going to be like.

At the very least, the energy that is contained in your body is going to go out to the universe and you do literally become part of everything. I mean we are now too, but we don’t know it because we feel like discrete creatures, but at the point of death, there’s a big change that happens.

So, either way, I think the manner of going is the part that scares us and the part that is too often tragic, and sometimes horribly inflicted on us. But the result of the departure I think can be approached with joy, or at least with kind of joyful anticipation. Not that I’m in a hurry or anything, but I think since it’s inevitable, death is as much a part of life as birth.

“On a Roll” captures a productive, yet realistic worldview at age 77. Talk about the drive and determination it illustrates about you at this moment.

The adventure continues. I don’t take any of it for granted. I do think that it’s going to hit the wall at some point. The hands are going to stop working or something else will happen, but for now, I’m able to keep doing this stuff and I think it might have partly to do with having a young daughter. So, I’m experiencing parenthood again in a deeper and more meaningful way than I did the first time around. She’s 11. I also have an older daughter who’s 46. So, I’m coming at it from a whole different perspective than when I was younger. It’s much more welcome and less fraught this time around, even though the world seems to have more to be fraught about as parents, now. Even though I don’t feel like a particularly young guy, I’m experiencing a lot of aspects of what it is to be a young adult in this culture.

I also get a lot of energy from the people who listen to the songs, and those who come to shows. I like playing for audiences and I like the travel and always have, so that hasn’t changed.

I feel like I’ve been led through the life that I’ve had and that continues, and I don’t really try to second guess it. I don’t take it for granted. It could stop anytime, but I don’t know, it’s a cliche to say, “I’m living in the moment,” but it has something to do with that.

And also, I feel like the journey isn’t over yet. I could see how you could get there. I think if I were by myself at this age and didn’t have a loving family to be in, that might be pretty depressing. Depression sucks up energy like nothing else. I think a lot of people do get depressed because the energy levels go down. They have for me too, but that’s offset by fresh things happening, so I guess it’s easier to deal with.

“Orders” explores how religion continues to be twisted to serve negative agendas, despite many of them stating we’re supposed to embrace one another, regardless of differences. What are your thoughts about how music can help transcend the socio-religious divides of the world?

I’m not confident that music can change anything, but it would be nice if it did of course. You can never carry that notion too far because you don’t know. I do hope that people will be encouraged by “Orders” and what it has to say. It’s one thing to sit there and say, “Oh yeah, we’re supposed to love thy neighbor,” but Christians have been failing to live up to that for 2,000 years. And there’s no reason to think we won’t keep on failing at that. But it doesn’t hurt to be reminded every now and then, that’s what we’re supposed to be doing.

Christians are under orders to do this, and we should be paying attention to that. And then you start thinking, “Well okay, well what does that mean? Who do I have to love?” And “everybody’s” too vague, so I just started giving examples in the song.

After decades of songwriting, what are your thoughts about making messages like that universal, without being didactic?

It’s a balancing act, because it’s easy to slip into preaching, and I’ve been accused of that at times. It’s always concerned me, and I feel like I’ve always had to make an effort not to go there. When you just say some things out loud, it sounds like you’re preaching just because of the nature of the material you’re spouting. People don’t always want to hear my opinion about things true or not. Of course, I think what I’m saying is true, but others might not agree. I do think you’re much more likely to be heard by people if they don’t think you’re preaching at them.

If you go to church or another religious institution, you expect to be preached at. You’ve volunteered for that, and it’s fine. But outside that context, it’s usually on an unwelcome thing. So, what I try to do is just share what I think and feel, and as long as people understand that that’s what it is, then they can take it or leave it. They don’t need to feel preached at. I’ve been blessed with an audience over all these years that’s willing to listen to this stuff and to varying degrees absorb it, and I’m totally grateful for that.

You emerged as a professional musician in the late ‘60s and early ‘70s, when activism and confronting difficult truths was more common. There’s a lot less of that these days. What’s your view on that shift?

You could also include the word “fashionable” in that. In the ’60s, a lot of people were sounding off because it was fashionable. When it stopped being fashionable, they stopped doing it. Not everyone and the real artists, in my view anyway. The ones who haven’t died have kept that up. They maybe had a different emphasis because times change, and we all change to some extent with them. At least our sense of how we fit in things tends to change.

The media, and radio—which is almost weird to talk about anymore—has relatively little importance in any area, except for the obvious pop stuff. I listen to rock stations when I’m driving my daughter to school because that’s the music that she likes to listen to. There’s some good stuff in there. Some of it’s not very good, and none of it really addresses much of what I think is worth addressing.

But then I think when I was a teenager, and even before that. I wanted to listen to Elvis Presley and Buddy Holly, and they weren’t talking about anything very important either. It was a little grittier, at least with Elvis’ songs, because he covered so many great blues artists, or at least drew so much from that world.

Pop music’s always with us. ABBA’s had a resurgence. Who could have imagined that? Back in the ’70s, that was kind of a pet hate of mine. Not ABBA specifically, but that part of the music world they represented. I had no use for it at all. They were making effective pop records that were really successful and that’s fine. Taylor Swift is also doing that, but I think she’s a better songwriter than the people in ABBA. I hope as she matures, that maturity will apply to her songwriting, because I think she’s good at it.

There are many capable songwriters that perhaps aren’t living up to what I imagined their capacity to be. But that’s my imagination talking. Really, I don’t know. Once in a while it seems like there’s been a window in which radio has accepted other kinds of music other than very produced, commercially-directed kind of stuff. And then the window closes after a while when the radio station changes hands and the new owners want more money, or when somebody discovers that they can make more money doing something else.

I’ve been lucky that I’ve been around for a couple of those windows to open and close again. Each time one opens, the audience gets a little bigger and, in my case, it seems like most of the people that have been drawn into my thing have stuck with me.

“To Keep the World We Know” addresses climate change and the idea of looking beyond ourselves. Explore its origins.

The actual song came about because Susan Aglukark called up and wanted to write a song together, and I thought it seemed like a good idea. We had a good time working together on it. The title was mine, but the idea of the world being in flames was hers. We’re seeing all this drought and wildfires all around the world, and it just seemed like something worth writing about.

You think about the future differently when you’re the parent of a young child. I think it’s because there’s an emotional investment in the future that you can’t ignore. With my daughter, the topic comes up tangentially from time to time. There’s no particular agenda. It’s about just paying attention to what’s going on. We talk about it a lot in terms of what she encounters, more than what I encounter. I have a perspective that is different. I’m considerably older than my wife as you can imagine, and so her perspective and mine are also different from each other, but I think mutually complementary.

So, I hope that what we can offer to our daughter is to be useful and that each of our excesses can be tempered by the other. Hopefully, we come up with some sort of reasonable advice and a reasonable context for our daughter to grow up in.

O Sun O Moon has an instrumental titled “Haiku,” and you’ve done two all-instrumental albums in recent times with Speechless and Crowing Ignites. How do instrumentals communicate in a unique way for you?

I think if you have lyrics, you hope if a person’s paying attention to those lyrics, they’ll be drawn into whatever it is they’re about. When you listen to music that does not have lyrics, that doesn’t happen and you’re free to feel whatever the music brings out in you.

I’ve always felt like there was a sense of space that went with instrumental music that doesn’t typically happen with songs with lyrics. If I listen to Bob Dylan, I’m thinking about what he’s saying, as well as savoring the music and whoever’s playing on the record. But if I listen to Japanese flute music or Bach, I’m not doing that. Rather, I’m allowing myself to be transported to wherever that music takes me. For me, that’s often a kind of deliciously-wistful poignant infinity. There’s a sense of that physical space almost. It’s imaginary, but it feels physically combined with time stopping. If you’re seriously listening to something, time stops. Those are the powerful effects I really notice with almost any kind of instrumental music.

Tell me about the choice of musicians on the album and the approach you took when recording them.

I really had a great time listening to what everybody brought to it, and I could do that partly because of the way we recorded. We first started with just me and Gary Craig playing drums and percussion, and once we had that down, we brought everybody in to add to it. So, it was fun to get the songs initially recorded, but the great thing about that was I had the luxury then of sitting back and not worrying about my own performance while listening to what everybody else brought in.

Colin Linden, who produced the album, had a great part to play in the choice of musicians, but we talked about it a bunch beforehand as we’ve done with previous albums. The core band included Victor Krauss on bass and Gary on drums on most of the tracks. Colin came up with Jim Hoke on marimba, clarinet, and sax, and Jeff Taylor on accordion and dolceola.

Jim brought so much to the recording in terms of horn arrangements and marimba playing. It was my idea to have marimba. I’ve always been a fan of Martin Denny and it seemed like some of these songs would suit that kind of sound, and it worked out.

We also have Sarah Jarosz on mandolin, Jenny Scheinman on violin, and Allison Russell, Shawn Colvin, and Buddy Miller on harmonies. I think this was the first time I’ve worked with Buddy, though I’ve met him many times. So, it was great to get him on the album.

It was really cool and a lot of fun to build the album up the way we did it. I kept getting pleasantly surprised by the results.

This wasn’t the first time I’ve worked this way. The albums I did with T-Bone Burnett, including Nothing but A Burning Light and Dart to the Heart, started in a similar way. For Nothing but A Burning Light, many of the songs were done with just me and a programmed, electronic drum track initially. Then we’d replace the fake drums with the real ones. It’s an easier way to get things done.

With Bone on Bone from 2017, we recorded that all live with the band, in the exact opposite way. We put the band together, got everybody in the studio, and just played, with some overdubs.

Either approach can work. If you’re dealing with a lower budget, the approach we took for the new album is good, because you don’t have to pay for people to wait around while you figure out what you’re doing.

We did have a decent budget for this album. But it felt like the approach we took was a better way to spend the money, and it works just as well, creatively. It’s different, though. You don’t get the same sort of spontaneous interplay that you might if you were actually playing live. The lucky accidents are less likely to happen, but on the other hand, you have more control over what happens, too.

Provide some insight into your creative process.

I still just love the guitar. So, sometimes when I’m playing, an idea will come that wants to be an instrumental piece. A riff or ideas that come one after the other can become the bones of an actual composition, and then I’ll chase that down and come up with something else for it. So, over the years, there have been quite a few occasions like that.

Writing instrumentals is different from writing songs where it’s all about lyrics. I like the sense that instrumental music offers something open to the listener’s interpretation. And playing the piece offers something similar to the performer, without being pinned down to specific lyrical ideas. It feels freer in a way. It’s nice to have instrumental things to do.

Of course, I like writing songs, too. When I write a song, I tend to structure things more formally and I tend to write the guitar parts into the song as a composition. So, I kind of play the same way through it, allowing for the occasional solo in the middle of the song. With the instrumental pieces, I still play them the same way, probably, but there’s more of a feeling that this could go anywhere, especially when you get to play it with other people. You just think, “Yeah, we’re jamming now. This is good.”

What are some of the key challenges you face in your creative process these days, and how do you transcend them?

The challenges are mostly physical. I’ve got arthritic fingers and sore feet, and whatever stuff that goes with being older. Eventually, those things might become impossible to get past. They are obstacles, in a way. Some of the older songs that are very simple I can’t play anymore because my fingers just won’t make the shapes I need to make. But that’s minimal. I foresee there will be a point where the songs I can’t play start outnumbering the other ones, and then it’s probably time to retire, but we’re not there yet.

The only other thing that I might put in that challenge category is having to come up with new stuff all the time. Having to do so is a choice, of course, but I don’t want to keep writing the same song. The more I write, the less room there is to come up with new stuff it seems. As much as we can add onto ourselves or subtract from that, as the case may be over time, you’re still essentially the same person you were when you started out, and you feel the same way about a lot of things and have the same vision. So, how do I say whatever it is I want to say without repeating myself excessively? Some repetition is going to show up. So, that comes into it in the writing of a song. Sometimes, I’ll catch myself at it. I’ll write a line, I think “Yeah, that’s cool,” and then be like, “Wait a minute, I said that 20 years ago.” And so, the question becomes, “Okay, well how can I say that in a fresher way?” I’m always still just figuring out how to write a good song.

When you perform solo, you occupy your own unique universe, surrounded by an expanse of instruments and technology. Describe your setup.

Solo concerts are mostly what are coming up this year. I have multiple guitars, because there are multiple tunings. I don’t want to inflict retuning over and over on the audience. I like being able to pick up ready-to-go guitars and just play. I also like the diversity of sounds. There’s the 12-string and dobro, which bring different sounds to the shows. They offer sonic relief from hearing the same kind of guitar sound throughout the night.

It’s a comfortable setup. I have cables, and little bits and pieces of stuff on a table near me, so I don’t have to hunt for things in my pockets or kick the water bottle over to get to them. I’ve also got a little collection of effects pedals to add variety to the mix.

With the acoustic solo shows, it’s about keeping the sound of one guy’s voice and guitar from being too monotonous over the course of the evening. The outcome is also a product of what happens between me and the audience, too, not just the physical stuff on the stage. It’s as much about what the audience gives back, and what I’m able to give back to them as a result.

I use in-ear monitors, because they’re better for my ears, and much more controllable for whoever’s mixing the house sound. They let me hear what the audience is hearing. I need to have that perspective, to have a sense of what I’m throwing at people.

Do solo concerts offer a greater level of freedom compared to ensemble shows?

In theory, they do offer a little more of that. I tend to do things the same every night once I settle on a set that works for me. The shows tend to be the same night after night, with minor exceptions. But theoretically, that freedom exists, if I were not as inclined to want to stick to a pattern. But that’s my nature. I’m just more comfortable when I’m not fretting over whether I’m going to make bad choices as far as the order of the songs go, or just forget what I know.

For the first decade I played solo, I was more spontaneous. I had a list of all my songs on top of my guitar, and I would just look down at that list and think, “Okay, well this one has the capo here and it’s in this key and it’s up-tempo, and I just did a couple of slow ones, so I guess I’ll do this one now.” But that was very stressful sometimes, because sometimes you just look at the list and go “What do I do now?” So, I like it better when I’ve got some sense of flow. I can change it if I want, but when there’s a planned show, my current approach works better for me. It’s also better for the lighting person. I can tell them what to expect and set up cues accordingly. It’s helpful to have things organized like that when I have a band, as well.

This is just my way of doing things. I tend to have a greater need to have the set structured. I can easily imagine being in a band where you didn’t do that. I’ve seen Colin Linden play with his bands where he’ll just turn around and yell out a song title and then they’ll play it. But these days, I feel it’s more practical to have a set list.

You’ve witnessed myriad technological transitions in the music industry across your career. What’s your perspective on its current ability to effectively compensate musicians, and the directions it appears to be heading in?

“Effectively compensate” are the key words. It’s one of the basic ingredients of human existence, and it’s certainly true in the music world. Lately, it’s an issue because of streaming and the fact that it doesn’t really pay royalties. That’s a concern and it has made life harder for musicians. In a sort of good way, it’s put the emphasis on live performances, which is okay because I think that’s when the music is at its most real. But yeah, it would be nice if the various powers that are working on these things could successfully persuade the streamers to pay up.

The music scene has changed totally and it’s still in flux. I don’t think it has settled anywhere yet. All of a sudden, we’re getting AI imitations of famous people. There was an actual virtual pop star in Japan a few years ago. This stuff has been written about in sci-fi books before, but it’s actually happening, and there’s going to be more of that.

Who actually needs humans when you can create a holographic image of somebody that just sounds really great singing and doing whatever? But it won’t replace us in the short term, at least. As I heard myself saying that, I was thinking of the old music union guys in Ottawa that were very upset when people started using synthesizers. They felt they would take jobs away from musicians, but it hasn’t really worked like that. AI probably won’t either, but things are changing all the time. I’m not interested enough in the electronic side of things to want to explore that.

It’s not that you can’t make good music with machinery. You can, but it’s not the same as when people do it. With AI, its function may change too. All of society is moving in the direction of standardizing, unifying, and homogenizing everything. But of course, in our movement in that direction, we’re also dealing with elements of chaos, such as mass shootings, war, and pandemics that work in the opposite direction. Politicians use the fragmentation for their own gain. It’s hard to say if music’s going to reflect all of that and where it’s going to go. I have no idea. I won’t be around to see it.

I mean things never stop. They’re constantly in motion and they’re never going to land anywhere, as long as we’re people with some capacity for imagination. Things are going to keep moving forward and changing. What I do know is things are hard now for musicians. I wish it was easier for musicians to make a living playing music, especially young ones getting started.

Those of us who’ve been around for long enough to have an audience are not in as difficult a situation, but if I were starting out now, how would I get heard? Where would I go? I could put stuff out online and maybe I’ll get lucky, and somebody will notice it. But millions of other things are coming out at the same time. You can find good stuff online, but there’s a lot of amateur attempts that you have to weed through to get to the good stuff, unless where you know what you’re looking for.

Do you plan for the long term with your career or is it more of a case of going with the flow?

The songs on the new album have been in progress for the last couple of years, and it’s just about to come out. So, it’s going to be the focus for the short term. It’s not new for me to be in this position because I don’t really plan ahead with respect to songwriting at all. Once in a while, I have the feeling that I want to go in a particular direction, but that is usually really just about a particular song. Should it be focused on electric guitar or acoustic guitar? What kind of music do these words want? But in terms of the big picture, I’m not much of a planner. Right now, we’ve got gigs booked across the next 12 months, and that’s about as far ahead as I’m taking it. We’ll see what happens creatively between now and then. The field is wide open.

~from www.innerviews.org – Anil Prasad


NEW FROM BRUCE COCKBURN: ‘O SUN O MOON’ – a review

by Ickmusic

O Sun O Moon - Bruce Cockburn

1 May 2023 – In 53 years of writing and recording, there’s been an undercurrent of spirituality in the music of Canadian Bruce Cockburn. He’s always had a knack for painting a picture of his Christian faith in a way that doesn’t hit you over the head, using the beauty and mystery of the natural world to illustrate the wonder of it all (just listen to my all-time favorite album of his, Dancing in the Dragon’s Jaws, and you’ll know what I mean).

His innate kindness and empathy for his fellow humans has always drawn me to him. Bruce Cockburn is one of the good ones (and criminally underappreciated in these United States, but I’ll digress).

With O Sun O Moon, due out May 12th on True North records, Bruce’s spiritual side steps out of the shadows and, well, “Into the Now.”

Bruce Cockburn will turn 78 this month, and after a tough collective few years for all of us, Bruce brings out themes of faith, mortality, love, conflict and climate in this beautiful collection of songs.

Recorded at on/off band member, album producer & pal Colin Linden’s backyard studio in Nashville, the album features some quality guests – from Buddy Miller and Sarah Jarosz to Shawn Colvin and Allison Russell ( have you heard Nightflyer? – https://www.youtube.com/watch?v=RNJgwj8d9eo ).

From the get go, Bruce faces that ticking clock and his faith head on with “I’m On A Roll”:

Pressure building left and right / Timer ticking, just out of sight / I’m taking shelter in the light
Time takes its toll / But in my soul / I’m on a roll

The powerful “Orders” addresses the oft overlooked yet plain and simple mantra of “Love thy neighbor”:

The sweet, the vile, the small, the tall The one who rises to the call / The list is long — as I recall / Our orders said to love them all

Not an easy concept to adhere to, is it? But nonetheless, as Bruce illustrates so well throughout the record, it’s the foundation of his faith.

With the backing of Shawn Colvin’s beautiful voice, the sweet, laid back front-porch feel of “Push Comes to Shove” continues the message: “push comes to shove / It’s all about love.”

In July 2021, Bruce vacationed in Maui with Dr. Jeff Garner, the lead pastor of the San Francisco Lighthouse church, which Bruce attends. In addition to helping lead a Sunday service, Bruce spent some quality time writing tunes. The first song he wrote is my personal favorite, “Into the Now,” www.youtube.com/watch?v=1jaBq-Z18Ls which has been a staple of his solo acoustic show ever since (I was lucky enough to see him play it in Scottsdale last year). It’s a Cockburn special: timely, poignant lyrics, a chorus that varies each of the first three times before tying all together exquisitely at the end; strung together words like: “Light as the feet of birds hunting on sod / Love trickles down like honey from God”; Sarah Jarosz on harmonies and mandolin. I mean, come on (!), it gets no better.

Another Maui-written song, “Colin Went Down To The Water” was released to streaming services a few weeks back. Featuring background vocals by Allison Russell, Buddy Miller and Colin Linden, the spiritual call and response of the song instantly connected with me (listen below).

The third Maui song is “King of the Bolero,” where Bruce channels a raspy, bluesy vocal to tell the story of a nightclub guitarist who’s “Got a double chin all the way round his neck / And a pot belly in the back.” Not a flattering image, and it makes me wonder who inspired this (internet sleuthing tells me the nightclub in the the Maui Grand Wailea Hotel is the Botero lounge. The Colombian artist Botero is mentioned in the song. Did Bruce write this while taking in some entertainment at the Botero? Hmm…).

Bruce’s resonator guitar, Gary Craig’s xylophone, Viktor Strauss’s bowed bass and Jenny Scheinman’s gorgeous violin usher in the sublime “Us All” (also available on the streaming services). It’s a hypnotic, mournful plea to “let kindness reign for Us All.”

The welcome sound of Bruce’s dulcimer rings in “To Keep the World We Know,” a sobering take on climate change, sung with indigenous Canadian artist Susan Aglukark (who sings in a native Inuit language called Inuktitut). An important message; and rhythmically reminiscent of Bruce’s great 1977 tune “Arrows of Light.” https://www.youtube.com/watch?v=2GfCrNp0nTI

The closing songs of O Sun O Moon bring it all back to the theme of faith & mortality in their own unique ways. The penultimate tune is the prayerful “O Sun By Day O Moon By Night,” featuring spoken word verses building to a joyous chorus prayer with gospel-soaked background vocals:

O sun by day o moon by night / Light my way so I get this right / And if that sun and moon don’t shine/ Heaven guide these feet of mine / To Glory

The album finale, “When You Arrive,” culminates in a singalong chorus featuring the full cast of previously mentioned characters. With a sauntering, New Orleans style rhythm, the repeated chorus brings to my mind an image of Bruce and the gang second-lining lazily down a French Quarter street, shuffling contently off into the distance – firm in their faith – and ready for whatever may be waiting around corner.

Pre-Order O Sun O Moon.
My Top Shelf Bruce Cockburn playlist on Spotify.

Credit: Ickmusic


Bruce Cockburn Announces 44 Date North American & UK Tour

O Sun O Moon - Bruce Cockburn

In Support Of Forthcoming Album, O Sun O Moon, out on May 12 via True North Records

Purchase: truenorthrecords.com/brucecockburn/

Watch lyric videos:

To Keep the World We Know (Lyric Video) – Bruce Cockburn feat. Susan Aglukark

Us All

Colin Went Down To The Water

On A Roll

Listen:

Haiku

April 16, 2023 SAN FRANCISCO Bruce Cockburn has enjoyed an illustrious career shaped by politics, spirituality, and musical diversity. His remarkable journey has seen him embrace folk, jazz, rock, and worldbeat styles while earning high praise as a prolific, inspired songwriter and accomplished guitarist. He remains deeply respected for his activism and humanist song lyrics that thread throughout his career. On all his albums Cockburn has deftly captured the joy, pain, fear, and faith of human experience in song.
Bruce Cockburn has won 13 JUNO Awards, an induction into the Canadian Songwriters Hall of Fame, a Governor General’s Performing Arts Award, and has been made an Officer of the Order of Canada, among many other accolades. He has 22 gold and platinum records including a six-times platinum record for his Christmas album. Cockburn continues to tour internationally.

Download Artist Images Here:
https://drive.google.com/drive/folders/1QtqesbPWqzUDsnZ2o2hTGoHLvut3vL0o

Full O Sun O Moon Bio:
https://docs.google.com/document/d/1gtfFNxWhbI8FIFAwYLOfBK6xWXQmtkI7QgGm6yp_JpQ/edit

“Time takes its toll,” sings the 77-year-old Bruce Cockburn on the opening song, “On A Roll,” his 38th album, O Sun O Moon, out on May 12 via True North Records. “But in my soul / I’m on a roll.”

He’s on a roll.

BRUCE COCKBURN 2023 NORTH AMERICAN TOUR
JUN 1 PLYMOUTH NH FLYING MONKEY CENTER
JUN 2 BEVERLY MA THE CABOT
JUN 3 HARTFORD CT INFINITY HALL
JUN 4 NEW YORK NY CITY WINERY
JUN 7 BETHLEHEM PA MUSIKFEST CAFÉ
JUN 8 PHOENIXVILLE PA COLONIAL THEATRE
JUN 9 WASHINGTON DC WARNER THEATRE
JUN 10 GREENSBURG PA PALACE THEATRE
JUN 12 BUFFALO NY ASBURY HALL BABEVILLE
JUN 13 KENT OH KENT STAGE
JUN 14 ROYAL OAK MI ROYAL OAK THEATRE
JUN 16 CINCINNATI OH LUDLOW GARAGE
JUN 17 NASHVILLE TN CMA THEATRE
JUN 18 ATLANTA GA VARIETY PLAYHOUSE
JUN 24 KENSINGTON CA COVENTRY GROVE
AUG 10 WHISTLER BC OLYMPIC PLAZA
AUG 24 OXFORD UK ACADEMY 2
AUG 25 LONDON UK SHEPHERDS BUSH EMPIRE
AUG 26 KETTERING UK GREENBELT FESTIVAL
AUG 30 BOULDER CO ETOWN HALL RADIO TAPING
SEP 1 PEGOSA SPRINGS CO 4 CORNERS FOLK FESTIVAL
OCT 11 HAMILTON ON FIRST ONTARIO HALL
OCT 12 MONTREAL QB GESU-ELISE
OCT 14 QUEBEC CITY QB IMPERIAL BELL
OCT 16 FREDERICTON NB THE PLAYHOUSE
OCT 17 CHARLOTTETOWN NB CONFEDERATION CENTRE
OCT 19 MONCTON NB CAPITOL THEATRE
OCT 20 NEW GLASGOW NS WELLNESS CENTRE
OCT 21 HALIFAX NS REBECCA COHN
OCT 23 PORTLAND ME STATE THEATRE
OCT 24 OLD SAYBROOK CT KATHARINE HEPBURN ARTS
OCT 25 NORTHAMPTON MA ACADEMY OF MUSIC
OCT 27 RUTLAND VT PARAMOUT THEATRE
OCT 28 ITHACA NY HANGAR THEATRE
OCT 30 NELSONVILLE OH STUART’S OPERA HOUSE
NOV 1 CARMEL IN TARKINGTON CENTRE
NOV 2 MILWAUKEE WI SOUTH MILWAUKEE PAC
NOV 3 CHICAGO IL OLD TOWN SCHOOL
NOV 4 CHICAGO IL OLD TOWN SCHOOL
NOV 17 SANTA MONICA CA MCCABE’S GUITAR SHOP
NOV 18 SANTA BARBARA CA LOBERO THEATRE
NOV 30 SACRAMENTO CA CREST THEATRE
DEC 1 BERKELEY CA FREIGHT & SALVAGE
DEC 2 BERKELEY CA FREIGHT & SALVAGE
For further information, contact:
US – Karin Johnson – karin@markpuccimedia.com
Canada – Eric Alper – eric@truenorthrecords.com
UK – Geraint Jones – gpromo@btinternet.com

~from Mark Pucci Media



Listen to Us All, new song from O Sun O Moon

O Sun O Moon is scheduled for release on May 12, 2023

O Sun O Moon - Bruce Cockburn
Listen to Us All

Bruce’s 38th studio album
by True North Records

O Sun O Moon is Cockburn’s latest studio album available May 12, 2023 from True North Records, a collection of 12 new original songs that demonstrate the songwriting and guitar-playing skills that come from more than 55 years of artistry. He has 22 gold and platinum records including a 6 times platinum record for his Christmas album. Cockburn continues to tour internationally.

You can listen to the track, Us All, on YouTube or on iTunes. You can pre/purchase this album at True North Records.

Track Listing:
1. On a Roll
2. Orders
3. Push Come to Shove
4. Colin Went Down to the Water
5. Into the Now
6. Us All
7. To Keep the World We Know
8. King of the Bolero
9. When the Spirit Walks in the Room
10. Haiku
11. O Sun By Day O Moon By Night
12. When You Arrive


From the album O Sun O Moon – get it here: True North Records
Composer: Bruce Cockburn
Animation by Kurt Swinghammer
(c) Linus Entertainment Inc. Marketed by True North Records.