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• Everyone smelled like this guy, but didn't look nearly as cute.

I was bummed to miss some of the earlier acts on Gottingen, but headed straight to the Spatz Theatre to ensure I'd get to see Martha. I caught a couple of songs from cowboy-boot-wearing Luke Doucet and Melissa McClelland who together are known as Whitehorse. Think Johnny and June with looping pedals. While it wasn't necessarily my type of country it was a very tight show and I was very content listening to McClelland belt it out, she's got pipes alright. And the real-life twosome looked like they were having a blast.

During the break I ventured out of the theatre (which was a near full house) only to drink from a really short fountain and share a bottle of chocolate milk with my friend. It all felt really PG 13 until the (to quote the night's hilarious host Jackie Torrens) "incomparable Martha Wainwright" took stage and started dropping F-bombs. She gave an absolutely refreshing performance that sort of doubled as a comedy show. Not only is her voice like no one I've ever heard, her (sometimes self-depricating) wit and blunt observations won me over. And we were lucky enough to hear her test out some new material from her forthcoming album, even a song she'd written two days prior. This show was an utter treat.

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• I sat really far away from Martha Wainwright.

After missing Martha's encore and high-tailing it to Eyelevel where I once again caught only the end of Jenny Berkel's set. It was once again beautiful. And then, once again, she put on that awesome fur hat. Accessories aside, the gallery was pretty full and made for a lovely atmosphere (more shows here please!)

We ran through puddles over to the Company House where Andrew Sisk was having his CD release and being extremely funny. I don't think I've ever laughed as hard at folk show before this night. Quiet music and roaring laughter: it's a winning combination friends, don't forget it. Sisk played some beautiful tunes from his new record Treelines, and some old favourites from his former band Share. Again, the Co-Ho was absolutely packed. Way to own your status as perpetually soaked Haligonians, Halifax.

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• Andrew Sisk looks more serious than he is.

Later on Ms. Wainwright showed up for some dinner, sat at the end of the bar and no one that I was with had the balls to talk to her. Then Bush's Glycerine played and it seemed to be the right note to end on.

I leave you with this, which Martha killed last night.

Kev Corbett was taking the stage when I hunted down my pass at Eyelevel, which might I add makes just as lovely a music venue as it does an art gallery. A soft-spoken cozy and intimate crowd sat politely enjoying the space and the Kev. Sadly, I couldn't stay long in fear of missing Coast cover model, the hype-worthy Willie Stratton and co. But I was overjoyed at the sight of this new IDOW venue.

The Bus Stop Theatre was warm and welcoming as always and I even got to catch a couple of tunes from the sweet-as-pie Jenny Berkel, who I later noticed had an amazing fur hat. I hope to see more of her Friday at Eyelevel avec Cactus Flower and Joe Grass.

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• Jenny "867-5309" Berkel

Did I mention our own Tara Thorne was the master of ceremonies at the BST show? And you thought Ricky Gervais was a good host.

Next up the face-melting, lyric-belting folkster Willie Stratton and his equally as wonderful cronies Kristen Wells, Magnus von Tiesenhausen and Grace Stratton shut everyone up and used some microphones that were likely as old as their parents. Or older. I got goosebumps a few times, Willie busted his guitar, Grace rocked out so hard her drum fell off the stage and they covered a super grim song I wish I could remember the name of.

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• Willie and friends wowing

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• Willie + Nick Everett's emergency guitar

I ran across the street to the Company House thinking I'd catch Mo Kenney, who apparently owned it, but I missed her. Second chances abound at IDOW though---Mo plays at 2053 Gottingen tomorrow at 9. This mishap worked out though because I did get to see Halifax theatre wizard/heartthrob Stewart Legere sing some of his powerhouse songs, tickle the ivories 'til they cried and bring the beautiful Melanie Stone up to assist in making some flawless harmonies.

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• How to Drop Jaws 101 w/ Legere and Stone

I dodged a bus and jaywalked back across to the BST to catch the Moonshine Ramblers' set only to find the room had transformed into a mega dance party where apparently shoes (and socks!) were optional. It was sweaty and stompy in there, and as always the Ramblers showed us all a great time.

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• The Moonshine Ramblers' backs

Then, the unthinkable. I found out that this would likely be the end of the Ramblers. The final countdown. The grand finale. THEIR LAST SHOW. After this news I moped my way home so I could sob in peace. Say it ain't so! And if it is...farewell to one of my favourite bands in Halifax, the party igniting, sock-removing Moonshine Ramblers. You'll be missed by me and many.

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• more dobro please

If this is only one night, lord knows what the rest of the weekend will bring. And apparently we're getting pounded with snow tomorrow, so we can all just make like we're listening to quiet music and sipping wine in our jammies at home. Storm or no storm you should take the time, put on actual pants and check out a show or two. Then, Gottingen-wide snowball fight?

All good things must come to an end. The closing evening of In the Dead of Winter is always a touch bittersweet. After many late nights spent listening on minimal sleep, socializing, eating sporadic meals and perhaps drinking a little too much to drink for a Wednesday, everyone seems burnt out from festival exhaustion.

With dark circles and heavy lines beneath their eyes volunteers, organizers, performers and musical appreciators bundled up for one last evening of song.

New Brunswick’s Babette Hayward warmed things up at the Company House. With her sweet demeanour and well-written folk songs, she reminded me exactly why I love this time of year. Not only is it a chance to catch up with old friends, it’s the perfect opportunity to discover new talent.

With her hair piled high in a pony tail, Hayward’s got a sense for tying quirky phrasing and artful melodies together. Her delivery is earnest and innocent.

• Babette Hayward

As Hayward stepped off the corner-stage, local songwriter Jon McKeil shifted gears with his somewhat gritty swagger. Opening with “Where Eagles Dare,” a Misfits cover, McKeil’s in the heights of his musical prowess. He’s been paving the proverbial pavement for years now, but from the selection of new material this very well could be his year. Even Amelia Curran couldn’t help but gush when she introduced him.

Across the street Montreal’s Gabrielle Papillon got things started with her acoustic guitar and tales of IDOW extreme nervousness. She couldn’t get over singing for Ron Hynes at the songwriter’s workshop or in front of Melissa McClelland and Luke Doucet at brunch. Her own show seemed like a breeze in comparison at the Bus Stop Theatre, as she played for a small group, including her parents.

• Catherine MacLellan

Down on Brunswick Street Catherine MacLellan filled the church with melody, as she replenished a few souls and broke a couple of hearts with her ethereal folk songs. When she played “Flowers on a Grave,” an ode to her father (the late Gene MacLellan), on the grand piano tears fell. With a little help from the audience she raised spirits with joy performing “Set This Heart On Fire,” from her latest release Water In the Ground.

• Justin Rutledge

Justin Rutledge’s set last year at St. George’s Round Church was one of my favourites so it was an absolute treat to catch him again, especially since he previewed a few songs from his forthcoming album produced by the legendary Hawksley Workman. Not only does Michael Ondaatje know he’s one of the most brilliant lyricists, he cites E.E. Cummings as a literary influence (see fellow English major geek out).

Over at FRED Gianna Lauren had already finished up her set and David Celia entertained the cozy crowd with songs from his latest “This Isn’t Here.” As a humour-based songwriter, Celia has a knack for the light and fluffy. Local go-to side guy Kev Corbett added lush bass notes. Brooke Miller closed the show.

• David Celia and Kev Corbett

Jim Bryson shut things down at St. Patrick’s Church, while Toronto’s Dinah Thorpe was the perfect final act of the festival.

After spending nearly every night listening to folky acoustic music, hearing beats and electronic-influenced instrumentation reminded dead heads that after every long winter spring arrives. She managed to rouse a few dancers from their hibernation Thorpe’s colourful songs blend wit and intellect.

Hats, mittens and scarves off to Don Brownrigg, Heather Gibson, Tanya Davis and Amelia Curran for yet another remarkable year.

• Amelia Curran

As the sun sets over Halifax, the final day of In the Dead of Winter nears. This afternoon festival organizers Tanya Davis and Don Brownrigg hosted an open mix/IDOW brunch. While listeners feasted on sausages, ham, eggs, baked beans, we were treated to some amateur performers, as well as seasoned songwriters.

Festival organizers Tanya Davis, Don Brownrigg and Amelia Curran (who previewed a heartbreakingly beautiful new song) all sang, while newcomers got a chance to show off. Montreal's Gabrielle Papillion serenaded the sleepy afternoon crowd, plus many others. For those of you who missed out don't fret. She's performer tonight at the Bus Stop Theatre at 8pm. Papillion shares the stage with Jenny Omnichord, Dreamsploitation and Dinah Thorpe.

• Gabrielle Papillion

Also on the bill this evening is the lovely Catherine MacLellan, Justin Rutledge and Jim Bryson at St. Patric's Church. Over at FRED whet bar, cafe and salon Gianna Lauren, David Celia and Brooke Miller heat things up. For those looking for cozy night near the bar, Babette Hayward, Jon McKeil and Jon Brooks perform at the Company House.

• Melissa McClelland

“I’ve never played in a church,” says Carmen Townsend, with her bright red shaggy bangs falling in her face. The Cape Bretoner is all charm. Her vocal play is reminiscent of Rebekah Higgs meets Jenn Grant, but her sound is entirely her own. Townsend takes listeners on a journey through the tumbling acrobats of her voice.

Despite dropping her guitar, Townsend’s on-stage presence is incredibly humble and adorable. She’s girlish, yet forthright. When someone at the back of St. Patrick’s Church gives her the five-minute mark she says, “Okay, I’ve got five minutes,” to the audience instead of being discrete.

“You should know by now there is nothing discreet about me.”

After Townsend’s set she rushed off to perform at the Paragon Theatre with the Tom Fun Orchestra and Bahamas filled the church with song.

As a Torontonian, Bahamas may seem like a strange name for Afie Jurvanen’s solo project, though somehow it suits his airy acoustic material. Jurvanen is a seasoned performer, as he toured extensively with Feist, Great Lake Swimmers, The Stills, Howie Beck, Amy Millan, Jason Collett, Hayden and others.

• The Abramson Singers

Two songs into his set I split to brave the cold (winter decided to arrive after all) and catch The Abramson Singers set at the Company House. I spent the afternoon listening to their myspace and slightly obsessing over their song, “Take a Camera,” which led to confusion when only two musicians were found on the corner stage.

Part of the band stayed home in Vancouver, but the duo opted to take the train across the country, performing all the way. Their “Trucker’s Prayer,” is a lulaby-like homage to hitchhikers and truck driver’s who drive all night.

Across the street at the Bus Stop Theatre Erin Costelo filled the black-painted room with colour. She performed a selection from her stunning album, Fire and Fuss. While over at Fred Salon, Whet Bar and Cafe headliners The Hupman Brothers couldn’t make so festival organizer Amelia Curran played an impromptu all-request set.

• Melissa and Luke

Back at the CoHo Melissa McClelland, decked out in fishnet stockings, red heels and a simple black number, upped the ante with her sexy cabaret crooning. Her hubby Luke Doucet accompanied her on vocals and guitar. One of the bonuses of their matrimony must be always having a built-in band mate.

It’s interesting to see their shows separately, as they’ve perfected the art of beautifully accenting one another’s music. While Doucet’s fingertips crawl up and down the neck of the vintage guitar, McClelland’s voice is almost other-wordly in calibre.

There is a gritty poeticism in her fairy tale gone-askew narratives, as her lyrics stumble down the rabbit hole where princess lose their princes, alcohol clouds judgements but there is always a sense of hope and lingering romanticism.

Afterwards Halifax’s eclectic rhythm-driven act, Zumbini started their set on the corner stage of the Company House, drums and sound-makers in tow, and made their way across the snowy Gottingen strip to inspire a frenetic dance party at the Bus Stop Theatre. All hail Zumbini!

• Zany for Zumbini

• Natasha Peach

In the Dead of Winter may be in its fifth year, but it hasn’t strayed far from the original vision once held in the legendary Khyber Club. As a Halifax-based festival, IDOW’s mission is to showcase up and coming local artists. Natasha Peach is merely one of the many songwriters featured this year.

With her shoes off and black and white stripped socks on, Peach might have been getting over a cold but she hardly missed a note at her Company House performance.

Tori Amos-esque in moments, Peach is a songwriter who is gingerly coming into her own. A touch shy in moments, she seemed much more at ease when invited Ria Mae and Margot Durling on-stage to sing harmonies with her on, “All I Ever Wanted.”

• Ria Mae and Margot Durling

“Now it’s back to awkward time with Natasha Peach,” she says, as the twosome left the stage.
Given more time spent below the glow of the spotlight, Peach could chart along Canadian pop pianists such as Sarah Slean and Chantal Kreviazuk.

Down the street a congregation of listeners gathered at St. Patrick’s Church eagerly sat rubbing their cold hands together in anticipation of the Good Lovelies. The Toronto-based trio charmed us last year at the Company House, but to soak in their buttery harmonies within the acoustics of St. Pat’s was a treat even they singers themselves weren’t prepared for.

• Good Lovely Carloine Brooks

Clad in heels and black dresses, the trio’s —Caroline Brooks, Kerri Ough and Sue Passmore —stunning vocals soared to the heights of the ornate ceilings of the old church and nestled perfectly into the ears of the captivated audience.

As they played “Baby, I Got My Way,” “Sleepwalkin,” “Lie Down,” and “February Song,” from their self-titled album, the chemistry and pure joy radiating off of each Good Lovely was infectious.

Though no one could prepare for their ethereal rendition of Leonard Cohen’s heavenly, “Hallelujah.” Even Ough seemed breathless once the final note echoed into the ether of the church.

“Wow, Leonard Cohen,” she whispered under her breath.

• Kerri Ough is good and lovely

There is a fantastic contrast between the Good Lovelies gorgeous songs and their girlish on-stage antics, it’s as if three best friends got together, decided to form a band and use touring as an excuse to have an endless slumber party. Confessional, coy and adorable, the Good Lovelies are exactly what they say: good and lovely, but also hilarious.

As they graciously praised Halifax for adopting them, they described Rose Cousins’ music so good that it will “make your heart barf.”

• Sue Passmore

Naturally once Cousins got on the stage she had something to say.

“You’re like three different types of berries, Good Lovelies. I want to mush you up, dehydrate you and make you into fruit roll-ups.”

Cousins’ is one of the finest performers of our time. With her heartfelt sentiments and dry humour, she’s a natural storyteller.

Whether she’s speaking to the loss of her grandmother who passed away at 91, dedicating a song to one of her dearest friends (she covered festival organizer Don Brownrigg’s “Along, Too,” on grand piano), or commenting on the tightness of Luke Doucet and Melissa McClelland’s jeans, it’s hard not to love her.

• Rose Cousins is a heartbreaker

“Just to think this is Canada’s music power couple,” says Cousins, as Doucet and McClelland joined her on stage. “Both of them wear tight pants very well. I’m wearing the same pants just six sizes bigger.”

While Doucet artfully played electric guitar, Cousins performed a vast selection from her latest release, The Send Off, recorded this past September with the legendary guitar hero, including: “White Daisies,” “Celebrate,” “Mandolin Man,” Mary Margaret O’Hara’s “I Don’t Care and “I Were the Bird.”

“It was the last song written on the record,” says Cousins, recalling a summer week walking the north shore of her Prince Edward Island homelands —the place that sets her heart back in balance —watching the birds soar above the ocean.

“Halifax is the best place to grow and incubate,” says Cousins. “I’m so grateful to live here and to be a part of the In the Dead of Winter festival. I remember being one of the organizers in the first year with Heather Gibson, now I am just so lucky to be a friend of the festival.”

• Musical matrimony Luke and Melissa

As I wandered down the balmy streets of Halifax this afternoon to I bumped into Tim Crabtree, mastermind behind Paper Beat Scissors, who was heading home for a bite to eat before his show later at the Bus Stop Theatre.

We stopped and chatted, noting the unusually warm winter’s day and gave each other a hug. There is something about In the Dead of Winter that feels like the Christmas season all over again, except this time it’s with people you actually care about and aren’t related to. Gift exchanges are in the form of songs, while merriment is found in afternoon mugs of coffee/tea that later turn into drained bottles of beer.

Outside of the Company House (CoHo for short), festival co-ordinator Amelia Curran took a smoke break. We tried not to marvel at the spring-like temperature too much just in case we jinxed it. Inside things started to feel sparkle while Luke Doucet and Melissa McClelland sound-checked.

Festival organizers Heather Gibson and Don Brownrigg were typing away on their laptops and everything seemed much brighter after last night’s somewhat deflated launch party. Due to illness Ani DiFranco had to cancel her show at the Rebecca Cohn last minute, leaving everyone at a loss.

But in typical Halifax fashion a group of us gathered for what bartender/videographer Krista Davis aptly coined Ani Counseling. Instead of wallowing, we raised our glass in honour of the 5th anniversary.

As the sun set this afternooon, Luke Doucet, Ken Whiteley and Charles Austin hosted a workshop —So you think you need a producer? and discussed some of the key elements of recording, the purpose of a producer and their extensive experience in the music industry.

“I’ve hired a producer for the first time in 10 years,” says Doucet, who recently produced Rose Cousins’ The Send Off, Melissa McClelland’s Victoria Day and his own solo material. “Your producer could be your neighbour, a friend, whoever. It’s someone to help oversee the project.” Doucet's opted to give over production reigns to Sloan's Andrew Scott for his forthcoming album.

But the performance aspect of IDOW officially began with a special serenade, as the entire bar sang happy birthday dear Company House before Dance Movie played. Bar owner MaryAnn Daye blushed a little, while someone uncorked a bottle of wine right on cue. It was perfect segway into Dance Movie.

• Gettin' groovy with Dance Movie

Comprised of Tara Thorne (vocals and guitar), Kinley Dowling (violin) and Craig Jennex (drums), Dance Movie moved through a stunning collection of songs. The lyrically smart pop-song “Carjack My Heart,” is heartbreakingly beautiful. Thorne’s creativity seems endless (see journalist, editor and filmmaker credentials), though it is as a songwriter that seems to suit her best. Dance Movie recently recorded their debut EP with Amelia Curran. Guest appearances include Rose Cousins and David Myles. According to Thorne, "It will be released when the grass turns green again."

As Field Assembly took the stage, I ventured across the street to The Bus Stop Theatre to gather with listeners who attentively hung onto The Wooden Sky’s every note. Their ethereal set included a sampling from their latest release If I Don’t Come Home You’ll Know I’m Gone, though it was their angelic harmonies and Fleet Foxes-esque quality that tugged on my heartstrings.

Just before Paper Beat Scissors geared up to take over, I quickly ducked out and veered off the IDOW track to catch Tegan and Sara’s show at the Metro Centre. In retrospect I should have stayed put.

• Tegan and Sara, where does the good go?

After seeing Tegan and Sara at intimate venues like Toronto’s Trinity St. Paul Church (when they first released This Buisness of Art), or for their two-night stint at Halifax’s St. Mathew’s Church (during the Pop Explosion), or at The Gordon Best Theatre in Peterborough (touring for If It Was You with The Rentals), the Metro Centre just didn’t cut it.

And it seemed I wasn’t alone. Tegan and Sara, who are infamous for their on-stage banter, barely spoke a word to one another, or to the audience for that matter. Usually they are chockfull of tales of their traumatic childhoods, stories of their mother and take a few cheap shots at one another. Not tonight.

Basically they rushed through majority of songs of their latest release, Sainthood —“Arrow,” “Directing,” “Paperback Head,” “Someday” —and played a few classics, including: “Living Room,” “Walking With A Ghost,” and “My Number,” which roused a cacophony from the under-aged crowd. Perhaps it was the daunting stadium, or the fact it was the last night of their Canadian tour, but overall their performance lacked their usual lustre.

• Quick draw, Six Shooter's Luke Doucet

Thankfully I made it back to the Company House just in time to catch the tail end of Luke Doucet’s set. Joined by his lovely wife Melissa McClelland, the twosome's off-stage chemistry is a force of nature on-stage. Nearly every audience member left with their jaw on the floor, uttering Luke fucking Doucet.