As part of the media coverage for FLOURISH (April 25-28), not your boys club will be having conversations with some of the folks that will be organizing, creating, and performing at the festival.

For the fourth interview in the series, I spoke with Thanya Iyer (she/her), “an enigmatic songwriter who crafts sparkling experimental pop music” (2018) who is one-third of her self-titled band, Thanya Iyer (Montreal). Currently working on a visual album called “Kind”, their music “empowers listeners to embrace mindfulness, aesthetic beauty, and the interconnectedness of all things” (2018).

Thanya 2 by Sophie Grouev .jpgPhoto by Sophie Grouev

In your music there are themes of change, healing, growth, and dreaming – all tools for resistance. Are there overarching forces that drive and motivate these themes in your songwriting?

Definitely! Songwriting and music in general for me has this amazing ability to engage people, create community and provide healing in a deeply therapeutic way. My songs are about my journey and the journey of life, the things we face throughout them, where we are going, where we come from, who we are. A lot of my songs tell stories that travels through questions around racism, healing, chronic pain and disability, aging, depression, and acceptance.

I’ve noticed that while you are resistant to define your own music, you have been explicit that you do not use guitar. Your soundscape, and the intentional absence of guitar, draws many parallels for me to Lido Pimienta! During a live performance, I recall her stating that she’s not interested in collaborating and creating sound with guitar – drawing it back to being a woman of colour in an industry that is dominated by white men with guitars. Would you be willing to share reasons and feelings behind your intentional absence of guitar?

Its true! We don’t have a guitar. While I have many beautiful friends who play the guitar and know some wonderful people who have guitars in their music, it’s just not really something that has ever appealed to me! A lot of the musical frequencies that the range of the guitar has is quite similar to violins and synths that I already cover and of course there is just also a high frequency of white men with guitars in the universe already. (I love Lido Pimienta by the way and all her work and am so inspired by her music and motherhood and vibe).

It is definitely difficult to be in a world where there isn’t a lot of visibility for amazing women and folks of colour creating awesome music and doing wonderful things. Because insecurities do come up about your worth and your ability to keep going, and incidents where people treat you less then you are happen. A discussion with a good friend a couple years ago made me realize that maybe it’ll take just a little bit longer for my music to reach the surface because i’m not really “marketable” (in the sense that I’m not white and didnt have bangs (no offence to people with bangs)). But I feel like the best thing that we can do is just keep doing it! Never give up and live our truth. All of my role models and the musicians I love are just doing it! Making amazing music and just continuing! Living their truth and pushing forward in a world that’s not so easy to exist in.

I read in an interview (2018) that you were in the recording stages of an album that you will be calling Kind. Can we expect to hear this album in the near-future?

Yes, you can hear it eventually but I’m not exactly sure when! Definitely within the next year! We are in the process of finishing the album, and we recently had some sessions with some amazing collaborators who are all bandleaders of their own and a part of the montreal community (including a very rad group of female singer-songwriters who formed the MAWMZ PLUS choir, Tamara Sandor, Emilie Kahn on harp and voice, Corey Gulkin, Brigitte Naggar (Common Holly), Shelby Cohen and Sarah Rossy and Frédérique Roy on voice and accordian) – . We are just in the final stages making a mix and making some art and all of that stuff.

Another huge part of the project is that we would like to release the album as a 20 minute film. We have all the music ready and have the same team who created our DayDreaming music video on board to create some magic, Bucky Illingworth directing, Elysha Poirier and Sophia Grouev on animation!

For folks attending Flourish Festival, could you share what spaces you like to create and the impressions or messages you try to communicate during a live performance?

We love to create a space that is comfortable and safe and home! I love to connect with people and share and hear their stories and their journey. I love interacting with the audience and creating a warm atmospheric soundscape universe for people to submerge themselves in.

We recently added a new band member, Sophia Grouev who will be doing visual projections at the show. Sophia is such a lovely person and also helps create the dream world and vision we are going for, just to lift you out of reality for a moment and then bring you right back in.

See Thanya Iyer live:

April 11 – @ 12 CAT Arts Collective, Kingston, ON.

April 12 – Kazoo! Fest, Guelph, ON.

April 13th – w/ I am Robot & Proud, World News, and Precious Jewel @ Wavelength Music Series, Toronto, ON.

April 25th* – @ BAE, Bangor, ME.

April 26th – @ FLOURISH Festival, Fredericton, NB.

April 28th* – @ Casa Del Popolo, Montreal, QC.

April 29th* – @ Live! on Elgin, Ottawa, ON.

May 2nd* – @ This Ain’t Hollywood, Hamilton, ON.

May 3rd* – @ The Baby G, Toronto, ON.

May 4th* – @ Spark Art Space, Syracuse, NY.

May 5th* – @ BSP Kingston, Kingston, NY.

* – w/ And the Kids

Contribution by Nikki A Basset


As part of the media coverage for FLOURISH (April 25-28), not your boys club will be having conversations with some of the folks that will be organizing, creating, and performing at the festival.

For the third interview in this series, I spoke with one of the staff members at Charlotte Street Arts Centre (a FLOURISH venue), Eva George (she/they). With over ten years’ experience working at organizations that serve youth & community, she now oversees social development programming at CSAC. As part of this position, she is planning and organizing a music festival called FEST FORWARD that gives space to emerging musicians and their professional development. Outside of CSAC, Eva loans her time to planning and organizing two growing music festivals, Feels Good Follyfest and St. Andrews Paddlefest.

eva george

Photo by Julie Easley

For folks that are unfamiliar with Charlotte Street Arts Centre, can you first give me an overview of its role in the community?

Charlotte Street Arts Centre is a focal point of community based arts.  We are unique in that we offer free programming to individuals and groups who might usually face financial barriers to accessing the arts.  We also have two galleries and we are the home to a growing list of tenants who are rooted in the arts, for example NB Film Co-Op has been a long time resident as well as a number of artists and dancers who have studios in our building.  Our newly renovated space and annex has given us physical accessibility with an elevator that services all levels of the building. We have a beautiful auditorium which has hosted many great performances.

I’m curious to know more about your position as ArtReach Program Manager – can you share with me what kind of programming you develop and offer through CSAC?

As ArtReach Program Manager I work with our community partners to go after funding opportunities so that we can offer them free arts based programming.  We partner with The Multi-Cultural Association of Fredericton, The Boys & Girls Club, Evelyn Grove Manor, Fredericton Mental Health & Addictions as well as Youth in Transition to name a few.  Our programming is very much based on the needs expressed by the communities we serve and we hire professional artists to facilitate our programs. Along with Penny from Motherhood and Jane Blanchard we created the very first Girls+ Rock Camp in New Brunswick which has since grown to Moncton and Saint John is planning their first camp as well.  

In this position, as a board member at Youth in Transition, facilitator for Girls+ Rock Camp, and as a parent, I’m wondering if you can you speak to how important it is to offer art and music spaces that are accessible to youth?

Young people are really great at taking the lead and doing amazing things when adults step out of the way and give them space to do so.  Our Girls+ Rock Camp really has been a highlight of my career in youth/community work. I have always been of the mind set that if you can’t see it, you won’t be it, so by giving Girls+ the opportunity to take centre stage through the support of our (wo)mentors from the local music community we are hopefully transforming the future of the music scene which historically has been overly dominated by men.  

In speaking with Jane, the co-director of Flourish Festival, it is clear how important all-ages programming is to the festival. What are you feeling especially excited to host at CSAC during Flourish Festival this year?

We are super excited to host a Girls+ Rock Jam with some of the visiting bands on the Saturday afternoon of FLOURISH.  I have a super big band crush on Motherhood so I am really pumped for their show here on Friday and we don’t get enough Jane Blanchard these days so I am really looking forward to that show on Saturday evening.

Contribution by Nikki A Basset


Weary’s debut music video for “Bruise”, the first single off their debut album Feeling Things (2017), was produced as part of the Nickel Independent Film Festival Music Video Incubator Project. Under the mentorship of Lian Morrison, frontwoman and first time filmmaker Kate Lahey co-directed the video.

Exploring the connections between personal trauma and resource extraction, healing and land relations, this video archives the messy entanglement of personal and political harm. Relations to land, self and movement are sites of healing as the video takes the viewer for a walk along the rugged terrain of Newfoundland’s treacherous cliffside. “Bruise” reminds us that tenderness can be an act of resistance.

I know that playing music, and navigating the music industry, is something that is still quite new to you, so I am curious about how you also felt as a first time filmmaker. What was this experience like for you? Were there any challenges or barriers that surprised you?

I feel really fortunate to have had a really similar experience. Because this was part of the Nickel Independent Film Festival Music Video Incubator, I worked under the mentorship of Lian Morrison, who is a really smart, easy going filmmaker here in St. John’s. Lian was really encouraging of experimentation, doing things your own way, not needing a bunch of gear to make cool stuff, trying different things and just having fun and finding inspiration in your own vision. From shooting to editing and all the little tricks in between, I feel like I got a really incredible crash course. I think because I’m a lifelong student – I just thrive in learning environments. I love learning from other people, I love seeing folks who are really passionate about and good at their work. I love working with people who are so excited to share that passion and inspiration with others, who don’t hoard their knowledge or let their ego get in the way or uphold exclusivity hierarchies. I’m really grateful to have Lian as that person for me with this video, and I’ve been really grateful to have women like Joanna Barker as my mentor and support in music.

Through knowing you, and all your work, it’s hard for me to imagine that everything isn’t always thoughtful and intentional. Can you share with me your relationship to the colour orange and why it seems to reveal itself in all things Weary?

Orange became a really important colour to me throughout the making of “Feeling Things”. I was navigating grief and loss, but also healing and my sense of belonging to home, Newfoundland. When you spend time on this land, you see orange everywhere: ties signalling property lines, oil rigs and buoys, etc. For me, orange came to demarcate sites of construction, extraction, and sometimes emergency. I felt a huge connection between the emotional wounds of trauma and the wounds this land sustains from colonialism and environmental exploitation/extraction. I felt that orange signalled the weird paradox of trauma feeling both hypervisible and completely invisible.

And while I felt kinship and shared experience with the land in this way, orange also taught me that healing and hurting are really complicated, messy entangled processes. Orange also reminded me of the fishing flies and bobbers I used trouting with my grandfather as a kid, the orange vest my nan wore in a picture of her hunting, or the ties that signal paths and trap lines. So the relationship between me, my memories, land and trauma are also all tied up in healing, family, survival and resilience.

Could you elaborate more on the importance of walking alongside Newfoundlands treacherous cliffside for this video, this song, and your feelings behind writing it?

For the same reasons, it was really important for me to braid together myself, orange and this land in a slow and meditative way. Walking is a really important part of my nan’s life that was passed to my mom and to me. Berry picking along trails is a really special practice for me. Being with the ocean is a really special practice for me. I feel small and connected to the bigger picture of my life, my family and the universe. Feeling small and connected is a comforting, healing way for me. Walking in the wilderness makes me feel grounded and rooted and connected and safe. I wanted the video to feel slow and big and quiet and meditative. I wanted to capture the prayer of walking with your memories, your ancestors and your wounds.

I want to comment on how deep this messy entanglement between personal and political is and how well you illustrate this through lyrics that do not offer any distinction between the two. I’m thinking a lot about healing and resilience, especially with the song title “Bruise”, and how this looks both personally and politically for you. Do you feel like there is a deep entanglement here, too?

Absolutely! I think I like to intentionally sort of just make things for myself that make sense for me and resonate with my experiences. Healing and resilience are the crux of the album — “Bruise” was the first single because I feel like it really speaks to anger and hurt, but also to resilience and survival. For me, both personally and politically, healing and resilience has been really messy and confusing. It’s been non-linear and complicated and about a whole lot more than me. The title of the album is also meant to speak to the abundance of feelings that course through and the paradoxical oscillations of anger and rage, numbness and isolation, joy and resistance, relief and security that might rise and fall. This was also a way of holding and validating all these contradictory moods and reactions for myself and for others. I tried to be empathetic.

In the final moments of the video, you gaze at your audience as you sing the lyrics “you don’t seem to see me”. What is the lasting impact or impression that you are trying to leave?

I think for me this lyric and this shot are again tied into the paradoxical duality of hypervisibility and invisibility of trauma. For me this was a political call, but also a personal act of resistance. Sort of a way to challenge ideas of viewership and access, and to confront the audience with my own power and gaze. There was something important about denying the audience my face throughout the video, about controlling that dynamic and claiming ownership. Keeping things vague and messy, like my connection to orange and land, is a way for me to control what ideas, feelings, memories, and relationships I get to keep sacred and private. It’s also a way to allow others to just feel that affective vibe of a slow walk along the ocean, without projecting all of my own experiences onto it so heavy handedly, I think it lets others’ bring what they need to that process. I like open ended, human lines like “I don’t want to love you anymore”. I think there’s just a lot of room there, I want that space to be an invitation. “You don’t seem to see me” is also a way of saying “I see you”.

Bruise Still 3

Photo by Kate Lahey and Lian Morrison

See Weary live:

April 27th – bloom fest w/ Property @ Thunder & Lightning, Sackville, NB.

April 28th – FLOURISH Festival @ The Capital Complex, Fredericton, NB.

May 1st – w/ Property @ Menz and Mollyz, Halifax, NS.

May 3rd – East Coast Music Awards, Charlottetown, PEI.

Contribution by Nikki A Basset and Kate Lahey


As part of the media coverage for FLOURISH (April 25-28), not your boys club will be having conversations with some of the folks that will be organizing, creating, and performing at the festival.

For the second interview of the series, I spoke with Indigo (she/they), Erin (she/her), and Emily (she/her) from Fredericton’s own, Terre Wa.

Indigo Rain Poirier (synth/drum machine) is an electronic musician recently awarded “artist of the year” for their solo project, Wangled Teb. Erin Goodine (synth) is an interdisciplinary artist, collaborator, and designer new to improvised electronic music. Emily Kennedy (cello) is a cellist, improviser, and collaborator active in genre-crossing projects with poets, textile artists, and dancers.

Together, Terre Wa is a powerful synthesis of these diverse backgrounds in visual arts and classical, experimental, and electronic music. Their improvised sets can abruptly turn from heart-wrenchingly beautiful to dark, intense, and menancing.


Photo by Emily Kennedy

How did Terre Wa form and how long have you been creating and playing music together?

Indigo: Terre Wa originally kind of grew out of a project Erin, her sister Robin, and myself were organizing called Sunday Music Spa. Sunday Music Spa is an ambient jam session for women and non-binary people where we set up a bunch of synths/drum machines, encourage people to bring their own instruments if they want or to use ours, and relax and make noise together in a soothing, supportive environment. Sometimes we make tea. It’s great. We had been hosting these sessions periodically for about a year or so, I think? Anyway, after awhile of performing together in that space, Erin and I ended up playing a set at Reads (god rest its soul) along with New Hermitage and Northern Apparatus, and then we decided we wanted to keep performing together and asked Emily to join us not long after.

Erin: Yeah, I think we had been doing Sunday Music Spa for around a year by that time. Sunday Music Spa came out of the need for a space that welcomed experimentation from people who were not musicians. I’ve always been interested in synthesizers and experimental music, but it always felt so daunting to learn how to play that type of music myself. After having that space to learn more about synthesizers and the time to experiment, Indigo was so generous to invite me to play a set at Reads with them even though I didn’t have much experience. It was the first time I had ever played music in front of an audience, but it was really encouraging and we got really good feedback from that first show. Once Emily joined us we became Terre Wa and everything came together so well.

Emily: Yeah, I went to that first show at Reads, and it was awesome! I was so stoked on it, I was was pretty tickled when they asked me if I wanted to jam, and then that was that. I’ve always enjoyed electronic music, and Terre Wa has been an awesome project to just explore how a good old wooden cello can fit in and mix with that kind of soundscape.

What can people typically expect from a Terre Wa set? Specifically at Flourish?

Erin: I guess it’s hard to say what to expect because it’s so different every time! Since all of our performances are improvised, we don’t necessarily know what it’s going to sound like going into a set. We did start to notice that the spaces we’ve performed in have really influenced the sound, like bar venues tend to be louder and more intense, while outdoor areas and quieter venues build up slower and are more relaxed. We will be creating an outdoor sound installation at Flourish this year as well as performing, so that will definitely influence the sound.

It seems that, outside of playing music together as Terre Wa, you are all very active in the music and arts community. I was hoping you could all offer some insight and perspective on the community there for folks not living, working, and creating in Fredericton.

Emily: Fredericton is a pretty special little arts community. I’m from New Brunswick, but I had lived in Ontario for seven years or so before deciding to move back home. It was really eye opening coming back – there are just so many supportive and hard working artists and musicians here. I think when I left, I felt the classic “grass is always greener” need to get away from where I was from, to go someplace larger. It feels even more special now to see how much of a gem this place is. There is this very grass roots, do-it-yourself culture here. People aren’t afraid to just start something, whether it’s a musical project or a festival. When you see that all around you, it’s inspiring. You realize that you can do that as well.

What does Flourish Festival mean for each of you? 

Erin: Flourish always feels like such a nice celebration. Friends come back to town, the weather gets warmer. I’ve seen some of my favorite shows at Flourish, not only because of the amazing musicians and artists, but also for the space it creates.

Emily: Yes! Flourish is the best way to send off winter – a weekend jam packed with great music, art and pals.

Erin, can you specifically talk about your involvement with the arts and the collaborative textile poster that you worked on for Flourish?

Erin: Yes! I primarily work as a graphic designer by day, and had the opportunity to collaborate with my sister Robin Goodine and Emily Blair on the Flourish Fest poster. They created a textile piece in Montreal and I designed a poster around it. I’m also an interdisciplinary  artist and have contributed artwork and installations for Flourish Fest in the past and have been involved in many collaborative art projects in Fredericton with the Shiftwork Collective and Connexion ARC. I’ve had some really great opportunities to collaborate with many amazing artists and musicians over the years. I also recently collaborated with Emma Hassencahl-Perley and Emilie Grace Lavoie on a curatorial project at the Beaverbrook Art Gallery that will be open during Flourish Festival this year.

Indigo, I know that you also play solo under the name Wangled Teb. Through this project, I saw that you will be offering a free workshop at The Charlotte Street Arts Centre Auditorium that will empower folks to use Ableton Live. Can you share what folks can expect of this workshop?

Yes! I’m going to talk about some basic terms that people should be familiar with when mixing, some general techniques for EQ and compression, a brief explanation of subtractive/analog synthesizers, and how I use Ableton for live performance. I might also go a bit deeper into how I approach writing a piece if there’s time.

What are each of you most excited for during this years Flourish Festival outside of your involvement(s)?

Indigo: Definitely excited to see Property again. I saw them play at Reads (god rest its soul) last year and they were AWESOME. Also that whole lineup for the Shiftwork show on Friday looks great!!

Erin: I’m excited to see Indigo and Emily’s other projects Wangled Teb and Pallmer! I’m also looking forward to seeing Carinae again. I saw them for the first time at last years Quality Block Party in Saint John, and they were amazing!

Emily: Yes, all of the above! And I can’t wait to see Thanya Iyer (and everything on Friday..), and the Flourish Gallery Crawl – – should be a lot of fun!

Terre Wa plays Flourish Festival on Saturday, April 27th at The Charlotte Street Arts Centre Auditorium (all ages / doors at 530 / $15)

Contribution by Nikki A Basset


As part of the media coverage for FLOURISH (April 25-28), not your boys club will be having conversations with some of the folks that will be organizing, creating, and performing at the festival.

For the first interview in the series, I’m speaking with Jane Blanchard (she/her), the co-founder and co-director of FLOURISH. Currently splitting her time between Edinburgh and Fredericton, she also plays music under her own name and keyboards in David in the Dark.

jane blanchard

Photo by L. P. Chaisson

Before speaking to all the things that the fifth year of FLOURISH festival has to offer, could you bring me back to when FLOURISH was founded? I would really like to hear about the dreaming that went into the origins of FLOURISH.

FLOURISH Festival started as a term project when I was in my second year at Renaissance College at The University of New Brunswick. The course was in Project Management, and after attending a community arts gathering, I decided that throwing a mini-festival that incorporated visual art, music and other disciplines would be fun. My best friend and bandmate Stefan Westner ran (and still runs) an art collective called Shiftwork that were famous (and still are) for doing these sweet DIY 24 hour pop-up shows, so together we started brainstorming on how to run a festival.

FLOURISH Festival was inspired by many events, people and groups that were encouraging the scene at the time (and in most cases, still are in some capacity). The Shifty Bits Circus was run by The Shifty Bits Cult (Motherhood, Penelope Stevens) and were throwing an out of this world DIY festival every summer that really showed us that something like this was possible – and who also connected us to so many amazing people. Tate LeJeune founded a great event called ‘Blossom, Don’t Burst’ (maybe a more obvious name influence there, haha) at Connexion ARC – which was a one day event open to all artists under 20 years old to showcase their work.

I like to think that FLOURISH grew from a mix of these influences plus our own experiences of playing in bands, throwing art shows, and hanging at The Capital Complex five nights a week. We thought FLOURISH was just going to be a one-off event, but we quickly became obsessed and it has been a passion project ever since. It’s thrilling to see how it has grown and morphed along with the community. In the first year, it was thrown together in less than 2 months with everyone volunteering their time, playing for free, and trusting two people who really didn’t know what they were doing. We are thrilled that the bigger we get, the more we can feed back into the arts community and continue connecting artists across the country.

What gaps do you feel FLOURISH filled in the arts & music community in Fredericton? Atlantic Canada?

I think that every year we learn and recognize different gaps in the community and by looking at our festival retrospectively, we work towards bridging them. When FLOURISH started, we wanted to contribute to a larger all ages scene, show a better use of alternative venue spaces, and promote more cross-collaboration between local artists. These are all still very important factors, but now in our fifth year we have a broadened focus.

With Shifty Bits Circus no longer running, FLOURISH Festival is really the only festival in the city that is artist run with a focus on emerging acts. Shivering Songs is a fantastic artist-run community festival like us and so such a superb job of showcasing phenomenal talent. We like to think of FLOURISH Festival as the event that showcases the bands and artists that maybe you have never heard of before but maybe you’ll see playing these larger festivals in a year or two.

Our big focus this year has been community involvement – reaching out to new volunteers, engaging new businesses, and being more vocal with our ideas to government and community partners (who are all super supportive) to give artists a platform to showcase their wild and wonderful ideas in a supportive environment. I like to think that we also help local artists grow their networks by bringing in acts from away and fostering communication and community. We’re just trying our best to make something valuable to artists and attendees alike – a unique experience in an inclusive and fun environment. We know we haven’t even come close to filling all the gaps in the arts & music community in Fredericton and beyond, but we are trying to set an example and work together with other like minded festivals and groups in the Maritimes to always do better.

As one of two co-founders, how do you feel the festival has grown since its first iteration?

The festival has grown at a steady pace – which has been super. Every year we are growing and able to offer more programming, but we are not becoming too big to manage. Everything we know about planning a festival has been 100% self taught and navigated thanks to our community, so we grow as curators and facilitators every year.

I think in many ways, FLOURISH Festival is a direct reflection on the personal growth of both myself and Stefan as we learn more, become more engaged, and feel more confident with our abilities. For example, we have definitely grown in regards to inclusivity. Like, I just had a look at our lineup for our second edition, which was a great time, but only 4 bands out of 41 were femme fronted where now it’s more like 32 out of 46. As a femme curator and artist, I am now so much more aware of the responsibility I hold in regards to programming. That’s a direct reflection of my experience touring and seeing the gender-gap at festivals and events. Every year we release our lineup and although we are proud of it – there are always ways that we can do better. Festivals like DIY Spring, MEGAPHONO, Lawnya Vawnya and Kazoo! Fest are a few that we look up to in regards to great programming and mandates.

What can folks attending the festival expect this year that will be different than previous years?

We are really excited about our all ages shows this year! We always have great all ages shows, but this year we will be using the Charlotte Street Arts Centre as a more central venue in our programming. We have a few high school bands who will be performing which has been a community that we have been trying to involve more. We are hoping this will start building a stronger relationship with the all ages music and art scene in the city, and will hopefully encourage young bands and artists to want to showcase their work in coming years!

We are doing a music crawl, which is a new thing for us – inspired by the music crawl at Lawnya Vawnya that I was lucky to be a part of for their 2018 edition! This is going to allow us to showcase some sweet areas in the city that a lot of people (especially people from outside of the city) may not know as well – like the New Brunswick College of Craft and Design LibraryNew Brunswick College of Craft and Design Library.

We are still the FLOURISH Festival people know and love – but this year you can expect some more magic, some more community involvement, and as always, fantastic events.

Can you speak to the intention of the festival, and what kind of culture you dream of cultivating through it?

The intention is to continue showcasing Fredericton as a cultural centre – as a hub for amazing visual artists, bands, electronic projects, theatre groups and more. There is such an amazing support system in this community – from The Capital Complex, people like Zach Atkinson, Matt Carter at Grid City, Laurel at Bellwether, all of The Charlotte Street Arts Centre… there really are too many to name! Events like FLOURISH Festival remind us all that we are a strong, dedicated, and creative community. We want FLOURISH Festival to be a place that can act as a jump starter to form new connections and new ideas. We want people to be inspired to start new bands, make new art, and create new projects.

Can you share any ideas for growth and development you have for future iterations of FLOURISH fest?

We are really keen to continue developing our artist in residence program. It’s a really special program that has cultivated so many life-long friends and has secured Fredericton as a second home to many. We want to work on increased diversity for next year and will be focusing on bringing a wider range of acts from all backgrounds to the festival. We would like to work together with new community groups such as the Fredericton Multicultural Association and The Mi’kmaq-Wolastoque Centre, and to have a heavier involvement in the all-ages community and the francophone community. In coming years we also envision taking over more public spaces and including some site specific installations as well as more free programming and access to things such as childcare and kid-friendly events for festival goers and artists. We have so much that we want to do, and we always make a huge list following the festival on notes and goals to work on, so we are really excited for 2019, and also to get to work on 2020!

Contribution by Nikki A Basset