Performers

With a style perpetually galvanized by darkness and haunting northern beauty, sisters Tiffany Ayalik and Inuksuk Mackay come together to create Inuit style throat singing duo, PIQSIQ. Performing ancient traditional songs and eerie new compositions, they leave their listeners enthralled with their ability to weave complex emotional landscapes that transcend language.

In Inuktitut, a “piqsiq” is a storm where winds blow in a very specific way, making it seem as if the snow is falling back up towards the sky. This otherworldly, natural phenomenon has become a source of inspiration for the duo, reminding them that things are not always as they seem.

Bardic Form is a multi-award-winning instrumental Progressive World Folk group, blending folk, Latin, classical and contemporary music into a high-energy and unparalleled performance. Rising from an impromptu living room jam in 2010, Justin and Reece quickly made a name for themselves as an exciting acoustic guitar duo, and have been captivating audiences ever since. They have been direct support for 8-time Grammy winner Ziggy Marley as well as Delhi 2 Dublin, and have performed at the Edmonton Folk Music Festival three times, where they shared the stage with Oscar Lopez, Sharon Shannon, and Della Mae.

Weaving together intricate melodies with sophisticated grace, Bardic Form delivers uniquely crafted compositions that are as dynamic and varied as their influences - with a smile and some cheeky shenanigans. From outdoor festivals to living rooms, concert halls to coffee houses, they are a rare gem performing something truly different and unforgettable. Bardic Form is currently recording new music set for a 2023 release.

Described as “a retro-Afrofuturist vision sending listeners on a journey through 40 years of electronic music” (Nuvo), Ibrahim’s music brings elements of spoken word, hip hop, soul, house and 70s pop together, filtered through the prismatic and often contradictory lenses of personal, historical and scientific relativities. Even the concept of diaspora seems to fall short of capturing the vivid vibrational multitudes of Ibrahim’s scope.