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The first house concert I did was in
Toronto. The living room was packed
with about 30 folks of all ages [and
there were] very few chairs, so most
were sitting on cushions on the floor. My
“stage” was the piano bench, which was
the only available space left in the
room. Just as I was starting, a latecom-
er arrived with her eight-year-old
daughter. The mom didn’t mind stand-
ing for the show, but there was just no
space to squeeze in the little girl, so I
invited her to sit beside me on the piano
bench for the show. She accepted, and
sat perfectly still while I performed.
After every song, I would turn to her
and ask her what she thought of it. Her
brief but sincere critiques received as
much applause as my performances.
Later, we all gathered out on the back
lawn for some wine and cheese — it
was the perfect gig.
(Ottawa musician Charlie Sohmer)
In the modern version, a host
simply invites their friends and family
to their home to enjoy an evening of
entertainment. They collect a $10 or
$20 cover charge and give it to the
musician. The host provides seating
and perhaps some snacks. Sometimes
they organize a potluck supper.
Sometimes not.
making memories
Musicians Kate and Hollis
Morgan exude warmth when they
perform. Put them in a living room
with an audience of fewer than 20
and their buttery-smooth lyrics, sweet
acoustic styling and skilled storytelling
is the stuff from which memories
are made.
Theirs is a mountain-roots-folk
kind of sound. It is a sound born out
of a passion for the music and for
each other. It’s new. It’s old. It’s a con-
temporary take on traditional creations. And it effortlessly gets toes “a tappin’
and emotions rollin’.”
They describe their original material as music “pinned against old tradition.”
Some of the songs in their repertoire were written 3,000 years ago; others
were composed yesterday.
“People like to have music in their home,” says Kate. “It is a relaxing atmosphere
for both the musician and the audience. People know each other so they
feel comfortable.”
Hollis plays the dobro (guitar) while singing:
Got boots that fit like moccasins/Got a hat that stays on in the wind/Got you…
through thick and thin/You’re the one who broke me in/Got eyes that show I’m still
amazed/Got a heart with strings for you to play/Got you… the rest of my days/You I can’t
replace.
For Kate and Hollis, these performances are made especially rewarding
because they get to mingle with the audience before and after the show and during
intermission.
“When we play dinner clubs and bars, we make fans,” says Kate. “When we
do house concerts, we make friends.”
Charlie Sohmer calls house concert audiences “attentive.”
“You don’t have to fight background noise like you would when playing a
noisy pub or bar. The audiences tend to be friends of the house concert presenter
so there is a built-in comfort zone, and everybody tends to be pretty laid
back.”
Fellow folk artist Lynne Hanson says house concerts are definitely “a highlight.”
“I can fill the room with my voice,” she exclaims.
Lynne sees this type of performance as an opportunity to share her music
Game Bike Cycling
Research Program
Due East Magazine • Page 21 • Fall 2008
for teens
Who is invited?:
• Youth between the ages of 12-17 years old who are
struggling with their weight.
• Not currently involved in a regular exercise program.
• Those with an interest and desire to follow the program.
Plus:
• Learn how to exercise at a level that’s right for you!
• A chance to improve your fitness while having fun!
• Parking/Transportation costs will be reimbursed.
Interested? For futher info contact:
Jane Rutherford, Project Coordinator
Healthy Active Living and Obesity Research Group
Children’s Hospital of Eastern Ontario
jrutherford@cheo.on.ca
613 737-7600 ext.3271