These artists appearing at Festival 2018
Harry Manx (Canada)
“Harry’s real skill lays in creating a rare musical place where blues, country, folk and Indian classical music co-exist as some spirit force”. – Downbeat
Canadian multi-instrumentalist Harry Manx returns to his fans in Australia with his newest take on his ‘Blues meets Ragas’ explorations. On this twelfth tour down under, Harry will perform at the Port Fairy Folk Festival, The Blue Mountains Music Festival, Byron Bay Bluesfest as well as sideshows in all major cities and many towns in between.
In his most recent recording, Faith Lift, Harry incorporates a String Quartet creating cross-cultural music that references and expands both Indian and western music, and shifts the feel and subtext of his unique sound. As Harry says, "the strings give my music such an amazing lift, it feels like I have wings". Sitting centre stage playing drums and guitars, Harry drives the rhythms forward with deep grooves, soulful patterns and spacious tones. Using his 21-stringed mohan veena (Indian slide guitar), a National steel guitar, a banjo, cigar box guitar, his voice, and harmonica to lay down his audible vision, the music carries the audience in a trance-like state. The lyrics draw from the works of the mystic poets with words of inspiration woven into storylines about everyday people.
Harry’s just completed a hugely successful run across Canada with the string quartet, with shows at the Montreal Jazz Festival, the National Theatre in Ottawa, the Koerner Hall in Toronto and the Banff Centre of the Arts.
Harry will be accompanied by his frequent accompanist, Sydney-based pianist Clayton Doley, for many of the dates as well as a string quartet at various festival shows.
A worldwide festival favourite known for his droll humour as well as musical originality, Harry’s fifteen albums and ceaseless touring have seen him earn a slew of Maple Leaf, Juno and Canadian Folk Awards, nominations, and accolades from musicians and fans worldwide.
‘Manx is the man who had already married Hindustani music to the blues and created a bastard progeny that weeps in quarter-tones.’ – John Shand, Sydney Morning Herald