Your new album Small Victories marks your seventh release and your first in nine years. What personal or artistic shifts shaped the writing of this record?

I hadn't recorded in 9 years since my previous album 'Devil On Both Shoulders' in 2015. That break was through Covid, as well, which had a transformative affect on many people, and most definitely touring and recording musicians. I think I had taken time to write for me rather than for a record and because I didn't have any timeline pressure, or expectations on any record's success, I was able to dig in and write when I felt like it, go back to older songs that were unfinished and enjoy the writing process a lot more. The songs came before the album, which was a different process than in the past. When you have won awards for your albums and have seen your songs chart, you inevitably feel a pressure to match or surpass those accolades and recognitions. Without those expectations on yourself, you get back to the source of being a writer for all the right reasons.

Your music blends roots, blues, country, folk, and even 80s pop influences. How do you balance these genres when crafting your sound?

I never really thought too much into the genre I was at anytime. I knew when I played with heavy blues rock influenced lead players, that side of my style would come out more, but I also have the country bluegrass and folk singer songwriter in me. I never have to choose which genre I am or put my style in a box. Your sound will likely be a culmination of all you love and have taken in and a little drop of your own uniqueness.

You’re known as one of the hardest‑working independent musicians touring internationally. What keeps you energized on the road after more than 30 years?

To be completely honest, I get shit scared now every time I'm about to tour that my energy and social battery will tap out before the tour is over. I lose my voice on tour a lot and don't sleep well. These days, in my daily life at home, I actually am quite the homebody. I love my home and I stay home a lot. I live in sweat pants and rarely go out. When I tour these days it has to be short and sweet. Like a week, or two, with a day off in there about every 5 or 6 days. I can't go much longer than that. I used to tour for a month at a time and rarely have days off. That's just not in the cards in the more. So the only thing that keeps me energized is not overexpending my energy and getting home before I get to the point where I have nothing left to give.

Your guitar style is often described as a mix of blues grit and roots  authenticity. Who were the players that shaped your technique?

Most of the players that have been formative to my style and inspiring are my peers right here in Winnipeg that I have grown up with. Players like Jason Nowicki, Grant Siemens, Chris Carmichael, Luke Doucet, Chris Saywell, and Damon Mitchell as well as some of the incredible players that I have had the luxury of having in my touring band in the past like Kyler Tapscott, Sam Weber, Sue Foley, and Jimmy Bowskill. The big picture guitar players that I have looked up to are players like Jimmy Vaughan, Johnny Moeller, Neil Young, BB King, John Lee Hooker, and many others.

Through Sure Shot Bookings, you’ve helped support other Canadian artists. What gaps in the industry motivated you to start the company?

It all started in Covid when I started working for another company as a contractor. We brought music safely to the front streets and back yards of homes. I had always booked tours and was somewhat of an event planner, so this brought my skill set to the forefront. Sure Shot Bookings was a natural transition in my life to start a company that facilitated live music to corporate, community and private events across Canada. I had enough connections on the customer and the musician side to be able to thrive at being the go between and coordinating and enhancing events with live music. It has been the most satisfying and rewarding thing I have ever done in all my years in the music industry. (www.sureshotbookings.com)

As both an artist and a producer on Small Victories, how did wearing multiple hats influence the final sound of the album?

I was extremely proud to produce Small Victories. One could say that in itself is, ironically, a small victory. In the 9 years away from the studio I had earned some stripes I hadn't had previously and knew I was going to be able to relay what I was looking for in the way of instruments, feel,  and sound to make the album I could hear in my head. With one side of the vinyl called "Soft Side A" and the other "Heavy Side B" I thought it would be challenging to produce two completely different feels in one album but when yo have the talent and the respect in a room, the shared final vision becomes a smooth process to get to its fruition. I had some of the best dream producers on my previous albums and they taught me a lot along the way. As my sensei’s, it was important for them to be proud of my sonic choices and luckily I think they were. Definitely a pride point in my life. I strongly suggest everyone produce their own album at least once in their recording careers.

Your single “Can’t Stop Me Now” is described as a redemption anthem rooted in personal experience. What message did you most want listeners to take from it?

I never really want or need listeners to take anything away from my songs. If you connect to a couple of lines or feel something from the sentiment, that's more than I could ever ask for. The song is about my dad being an absent shitty dad and how no matter how it made me feel growing up,  the empowerment of knowing that not only is not my fault or something I need to feel bad about, but I thrive even more because of it and how it's his loss. How he can't stop me if he tried. And really, no one can. But if there was a take away from the song, it's that is it up to you and only you to kick ass. That's most definitely your best choice no matter what obstacles you face. Nothing and no one cans top you but yourself.