The Small Glories are a Canadian duo making their U.S. debut on an album that celebrates the Canadian prairies, titled for the convergence of two rivers, the Assiniboine and the Red. Cara Luft was an original member of the Wailin’ Jennies and JD Edwards in a multi-instrumentalist, the two having met serendipitously, at an anniversary show at Winnipeg’s West End Cultural Centre. Some things are just meant to be; such is the case with The Small Glories.
Luft’s parents were folksingers, inspired by Pete Seeger, and she knows that sometimes a song is all you need to bring people together. But often, it is more. “(Seeger) was the king of uniting people through singing,” Luft says. “There’s so much animosity and divisiveness in our world these days… as artists, part of our job is to somehow create unity.” You can hear that spirit on this record. Simply close your eyes and envision a sing-along likely to break out at any point.
They both sing and play string instruments – acoustic guitar and claw hammer banjo for Luft, and acoustic and electric guitars for Edwards. They are joined by the rhythm section of drummer Mark Mariah and bassist Giles Fournier along with producer Neil Osborne on electric guitar and engineer Lloyd Peterson on keys, Nine other guests join on select tracks and often are spotlighted in solos that highlight the given piece, such as fiddler Trent Freeman on “Alberta” or string wizard Steve Dawson on dobro in “Oh My Love” as just two prime examples.
The album was recorded in Winnipeg and is bookended with the opening “Alberta” and closing with “Winnipeg.” Rooted in mostly traditional folk, the opener is a love song, praising the beauty of the land in Luft’s home province while the latter is a celebration of their now hometown, a multi-cultural haven, complete with the closing Native American chanting as it fades out. The draw to their sound, as you’ve likely guessed is the harmonious blending of the two voices. Instrumentally, it’s primarily standard folk fare in support of the songs. Another standout track in “Long, Long Moon,” written on Prince Edward Island, where the charming history (Anne and the Green Gables and more) inspired a song about loss, love and waiting. Another standout is “Pieces of Me,” where you can appreciate the splendor of their voices singing practically a capella with the spare accompaniment of resonating electric guitar chords.
“Don’t Back Down,” augmented by guests on guitar, fiddle, and accordion to provide that Acadian feel, was written for the stoic stalwarts who refuse to leave dying prairie towns as the family farm erodes and those who have seen the demise of fishing in small maritime towns. The duo offers a wide scope view of the Canadian experience beyond their western region. Not only that but the political nature of “Sing,” seems aimed at a U.S. audience as it challenges divisiveness and polarization. Mostly though, they write around the theme of home, in their case, not just their familiar locales, but their country.
Every song is with a co-write between the duo or between them and other writers which include some of Canada’s finest – Lynn Miles (‘Johnson Slide”), James Keelaghan (“Alberta,” Secondhand”), Catherine MacLellan (“You Can’t Be High”), Bruce Gurthro (“Don’t Back Down”), Ashley Condon (“Long, Long Moon”) and Andrina Turenne (‘Winnipeg’) as well as American poet Glenn Bowie (“Pieces of Me”).
The duo is well-known in Canada and well-honed from hundreds of shows together. They are making an incursion some extent stateside through their appearances at SXSW and recent East Coast touring in May. Their harmonies and engaging songs are impressive and memorable. We’ve seen the success of couples like the Civil Wars, Mandolin Orange and Shovels& Rope. The Small Glories can now begin to take their rightful place too.
