Headliner: Alan Doyle
Opener: Chris Trapper
DOORS: 7pm | SHOW: 8pm
$28 ADVANCE | $30 DAY OF SHOW
PARTIALLY SEATED SHOW
NO REFUNDS | ALL SALES FINAL
Tickets: After completing your purchase on See Tickets, you will receive an email confirmation with your attached PDF ticket(s). You MUST print and bring your PDF tickets AND VALID PHOTO IDENTIFICATION to be admitted for the event. You may download the See Tickets app and show your ticket on your mobile device for entry in lieu of printing.
Alan Doyle chalks up a lot of where is he right now—with both his third solo albumand his second book released in October 2017—to luck. “I’m the luckiest guy I’veever even heard of,” he says. “This was all I ever wanted, a life in the music business,singing concerts. I was lucky to be born in the family I was, in Petty Harbour. I waslucky that Sean, Bob and Darrell found me and asked me to join their band. I waslucky the Canadian music fans were into it.”
And yet, one listen to A Week at The Warehouse makes it plainly clear that there’sa lot more than luck at play in this decades long, awards-studded career. This album,recorded live off the floor with Doyle’s “beautiful band,” as he calls them, withproducer Bob Rock at the helm, is chock-a-block with country-tinged, radio readytunes that bring with them the flavour of some of Doyle’s favourite artists, from JohnMellencamp to Rock’s own band, Payolas (In fact, Doyle covers a Payolas tune onthis album, Forever Light Will Shine, with that band’s singer, Paul Hyde appearing asa guest vocalist.)
In addition to Rock’s work with Payolas, Doyle loved the metal albums Rockproduced in the eighties, and his more recent work with the Tragically Hip, JannArden, and others. “It’s a real treat to get to meet your heroes and they turn out tobe nicer than you ever imagined,” Doyle says. “A couple things about Bob, he’s firstof all, still a massive fan of a good song, for a man who’s seen hundreds andthousands of them, he’s still thrilled to get a chance to work on a good song with agood band in a good studio, that’s still a perfect day for him. And secondly he’s just awonderful motivator to get great players to play at their best.”
That kind of ease and experience—plus the incredible talents of Doyle’s touringband—made recording A Week at The Warehouse a relative breeze. Of the band,Doyle says, “I am so by far the worst person. I wish I was being modest. They’re anincredible band to sing with every night. I look around the stage and I can’t believemy luck.”
Doyle’s desire was to have an album that sounded and felt like the live show, and AWeek at The Warehouse does just that. Lead single Summer, Summer Night is a co-write with long time collaborator Thomas “Tawgs” Salter. Doyle had it in mind towrite a Celtic country song about summer nights in Petty Harbour when he was ayoung adult, playing guitar and singing with his friends around a bonfire on thebeach—and teaching his friend Jimmy to play “one song, he figured he could get thatone girl to go out with him. I showed him how to play Dirty Old Town and if memoryserves correctly it was very successful. It’s a fun song about letting yourself go theway you could when you were that age.”
Then there’s the ukulele and whistling ditty Beautiful to Me, also co-written withTawgs Salter. This one, Doyle says, is a response to an attempt in North Carolina tolimit the access trans people have to bathrooms in schools. “I was drawn to write asong that told people on the outside that they were certainly welcome in my place,”Doyle says. “If you’ve got love in your heart, that’s all that matters to me. It’s such asimple little song. It’s gentle. I just want everyone to know that if you feel like you’reon the outside, you’re not on the outside in this group—my arms and doors are openwide.”
In effort to balance the sound of album with something more rooted in Doyle’s ownhistory, he dug out an older tune, one he’d written for the Robin Hood film in 2010.Doyle remembered the film had used the chorus and parts of two different verses ofBully Boys, but he couldn’t remember which. So he took to YouTube, hoping to findthe scene. “I found dozens if not hundreds of versions of that song, from Spain,Croatia, China, the UK,” he says, astonished. “People have written their own versesin the old traditional way, it has made its way around the world as a sea shanty. It’sthe old way of spreading a folk song, but using the Internet.” Doyle knew he had tofinally record the song himself.
And there’s more of Doyle’s history in Somewhere in a Song, a tribute to hisparents, who “made us feel like we could handle anything life gave to us,” Doylesays, adding he didn’t realize till he was an adult that his family had been poor. Thesong’s opening line is one Doyle heard his father say, when someone asked how theelder Doyles had gotten together. “My father said, ‘that’s simple I suppose, she couldplay and I could sing.’ It’s a simple homage, a celebration of my mom and dad’sattitude that you spend exactly none of your time worrying about the stuff you don’thave and exactly all your time making the most of what you do have.”
It’s an ethos Doyle has adopted whole-heartedly.
“I still think of myself as a person that has one job, a guy who plays in a band for aliving, that’s me. If someone asks me to write songs, I guess I’m a songwriter too. Ifsomeone asks me to produce a record for them, then I guess I’m a record producertoo. I never looked for an acting job in my life—they come to me. Someone calls whoneeds a hairy, Irish-looking fellow to bully someone or play the lute, come throwrocks at Colin Farrell, okay, sounds fun. It’s a laugh. Books came to me the same way,Random House said, we’ve been reading your blog, why not write a book, so Ithought okay!” There’s more to it than all of that, for certain, but Doyle parries it off,in his usual way. “I’m grateful to do all of it. It’s a wonderful life and I’m very lucky tohave it.”