The Blues Has An Aurora.

The opener always has it hardest when a festival or concert kicks off. Jack De Keyzer had no problem with that whatsoever. Because this man is a hard working man. He's been making music for decades and possesses the rare ability to fuse blues with other genres without losing the thread of either. 

Jack has a list of names who inspired him, of course. Blues legends like B.B. King and Muddy Waters colour his style — but rock legends like Jimi Hendrix and Eric Clapton are very much in the mix too. Jack De Keyzer had the packed house buzzing from the first note. The bluesy wave of smoke and solos brought the room to its feet, swaying and roaring with applause. What an explosive, breathtakingly fast start to the Aurora Winter Blues Festival 2026.

Jay can't be held responsible for his family. But his family is more than happy to take credit for the genes behind his talent as a Toronto-based blues musician. His mother is a jazz singer. His father, a saxophonist. One can only wonder where Jay's parents first met.

Three men and their musical passion stood on that stage. Jay is no longer an unknown — he's a Canadian Indie Music Award winner for Best New Artist, after all.

Jay offers a fascinating blend of styles. Traditional blues as the foundation, layered with contemporary jazz and, above all, deep soul. Jay Blues is unmistakable, and his songs reach somewhere under the ribs. No surprise when you hear his list of influences: B.B. King, John Coltrane and Amy Winehouse. 

When Jay speaks to the audience in his warm, quiet voice, the room goes completely still. Then he hits the strings — and the quiet doesn't stand a chance. The room erupts, because enthusiasm has just claimed its seat.

Before Suzie Vinnick arrived in Saskatoon, Saskatchewan, Saskatchewan wasn't exactly a hotbed of blues. Suzie changed that dramatically, decades ago. Her expressive voice is impossible to miss, and she handles bass and guitar with an almost casual authority that somehow hits all the harder for it. 

Suzie Vinnick is widely regarded as one of the leading figures in the Canadian blues and roots music scene. 
Suzie is approachable — in more ways than one. Her music is consistently described as honest and grounded, and her warmth with the audience at the Aurora Cultural Centre was refreshing. 
And honest. 
And grounded.

Suzie brought two extraordinary guests along for the ride.
Tony D. — real name Tony Diteodoro, hence the nickname — is a blender of musical influences. His range runs from classic rock to deep-rooted blues, with B.B. King and Stevie Ray Vaughan as his primary godfathers. Tony knows how to marry technical precision with emotional depth, and that combination has made him one of the most sought-after musicians in the Canadian blues scene. On top of that, he's built up quite the trophy case: multiple Juno Awards for Best Blues Album, a Canadian Independent Music Award, and a string of regional blues honours.

Then there's Kevin Breit. 

The second guest musician for Suzie's set, and a man who arrives with many guitars and even more talent. The lanky musician turns out to be a musical maniac of precise yet playful perfection. Each of his four guitars seems to function as an extension of his body. Kevin's influences flash through constantly — blues icons like Muddy Waters and B.B. King, jazz giants like Wes Montgomery and Pat Metheny, and a love of folk and country he simply can't hide. 

Kevin is less a performer than a researcher — a scientist pushing through the undergrowth of music history, always looking for more to work with. He too has multiple Juno Awards to his name.

If you know and love Newmarket, you know and love Glenn Marais. The Newmarket Music Days without Glenn? Unthinkable. 

This talented musician doesn't just focus on the music — he's deeply embedded in the community around it. Alongside his performing career, Glenn Marais organizes workshops and programs in local schools. His goal: to bring young people closer to music, to inspire them, to light a spark.
And that's precisely what he did on Saturday afternoon — with tremendous commitment, wit and charm. The audience was delighted. There's a particular reward in hearing a musician speak about the history of the blues from the inside, and Glenn offered exactly that. He told small, valuable stories that reframed a few things in a new light. Musically, the audience was anything but shortchanged. Glenn's storytelling wove through his songs like a thread, turning the afternoon into something more than a concert.

A remarkable afternoon — full of anecdotes and a window into his album Jook.

Surprises tend to show up where you least expect them. Dominique Fils-Aimé surprised the audience completely — with an excellent, almost magical performance. She threw out every conventional concert format from the start. Opening song, welcome, next song, and so on — none of it. 

That's not what Dominique wanted to offer the blues enthusiasts at the Aurora Cultural Centre. She is the artist who exists and works beyond the blues.

After nearly two hours without a break, the audience's enthusiasm was so complete that aching backs and stiff knees had simply been forgotten. When Dominique and her excellent fellow musicians launched into the first song in French, the name "Sade" surfaced immediately in the crowd. But Dominique doesn't seem fond of boxes, even if jazz and soul are undeniably her home. Her breakthrough came with the album Nameless, which was met with widespread critical acclaim and earned her serious attention in both the jazz and soul worlds. 

The album tackles deep themes — racism, personal freedom — elements that run through much of her later work as well.

Beyond her musical career, Dominique Fils-Aimé is known for her social engagement, using her platform to draw attention to issues that matter and to actively push for change. She demonstrated this quietly but powerfully several times that evening. Heads nodded around the room when Dominique, with just a few sentences, reached straight into the hearts of everyone present.
What a wonderful, purposeful concert.

Sunday afternoon, 2 p.m. The lighting settles the stage into something warm and easy. Harrison Kennedy walks out, smiles — and whatever ice remained simply melts. Harrison has his roots anchored deep in the traditional sounds of the blues, while consistently reaching across into other genres.

Shortly after the seventies began, Harrison joined the band Chairmen of the Board, who quickly made their mark with hits like "Give Me Just a Little More Time." But Harrison wanted more room for his creative instincts and eventually struck out on his own.

The comfortable atmosphere at the Aurora Cultural Centre stage was something Harrison understood intuitively and made even more so. His running commentary between songs — funny, informed, personal — brought the blues closer to the audience in a way that went beyond the music itself. Naturally, the audience wanted encores. Naturally, he obliged.

A no-nonsense, old-school trucker type walked onto the stage. He opened a wooden case — and inside lay an impressive collection of harmonicas.

The man's name is Dave Mowat, one of Canada's most respected harmonica players. His music is a fusion of genres ranging from traditional Canadian folk to contemporary styles. His ability to embed the harmonica in vastly different musical contexts makes him one of the most versatile musicians on the circuit. Canadian folk, jazz, elements of world music and — of course — the blues have all shaped his sound.

One man. One stage. Ten harmonicas. And a great voice. That's all Dave needed to hold the room completely. His interplay of harmonica, vocals and a stomping boot is simply impressive. It clearly matters to him that the harmonica gets its contemporary due — and Dave Mowat has made sure that it does, both in the music scene and with audiences.

Flowing hair, sunglasses, denim shirt and boots — the man marches onto the stage and looks out at the audience as though he never quite expected this many people to show up. The man's name is Sam Taylor. His wide grin and his joy are immediately contagious. Little Magic Sam brings the Aurora Blues Festival to a triumphant close. His band is as exuberant and committed as Sam himself. The man is head-over-heels in love with the blues, with performing, and with the plain magic of music. Little Magic Sam also brought a guest along: Steve Grant, better known as "Cabbagetown Steve.»

Sam Taylor doesn't just love playing the blues — he loves talking about it. At length. Eloquently. Passionately. The verdict on his set: a full blues locomotive, with a side of education.

Nobody would have guessed for a moment that this was the first Aurora Winter Blues Festival after a five-year hiatus. Beyond the enormous logistical effort involved, the people behind the scenes were impossible not to notice — in the best possible way. Suzanne Haines, the festival's Executive Director, opened every concert with genuine enthusiasm and undisguised joy at seeing the audience back in the seats. Derek Andrews introduced every artist and band with the kind of precise knowledge and sharp wit that elevated each performance before it even began.

These four days and six concerts have burned themselves into my heart as an outstanding, joyful and deeply moving blues experience.

Thank you to everyone who made it happen.
I'll be back for the Aurora Winter Blues Festival 2027.