by Steve Richer and Janine Smith
It is a beautiful, crisp evening as we walk toward Ottawa’s Unitarian Church. Once again it is the site for what has become a special Spring tradition: Gil’s Hootenanny. Gil Levine was Research Director at CUPE, an advocate for social justice, and an ardent lover of folk music. He was partial to singalongs and expressed a wish upon his death that people “plan a hootenanny”. This wish has been lovingly realized for 16 years by his daughter Tamara and a committed group of folk-song enthusiasts.
The First Unitarian Church of Ottawa is a splendid building accentuated by a dazzling, soaring spire. As we approach the entrance, the sound of singing welcomes us – Ottawa’s activist choir, Just Voices. Walking through the door, it strikes us that the venue is ideal for this event in two respects: first, it is an uplifting, welcoming physical space, and second, the major Unitarian values – justice, equity and pluralism – dovetail perfectly with the songs of hope and protest which typically make up the hootenanny set list.
As the church fills up, the anticipation is palpable, and somewhat different from previous events. Our sense is that the current political situation is heightening the importance of expressing solidarity via collective singing.
Indeed, the traditional entry procession, led by Arthur McGregor, features the iconic labour anthem, “Solidarity Forever”, written by Ralph Chaplin in 1915. The audience fills the room with the powerful chorus.
Tony Turner, of “Harperman” fame, and multi-instrumentalist Ann Downey are introduced by MC Kathy Kennedy, who does a masterful job of leading us through the program. Among their engaging presentations is a creative, satirical song by Tony: “Tariff’s Profiteers”. Sung to the tune of Stan Roger’s rousing “Barrett’s Privateers”, the audience stamps their feet and claps their hands while singing the oft repeated line, “I wish we had Joe Biden now”.
Post intermission, Mark Evenchick performs his optimistic and heartfelt song, “It’s The Children”. The message is clear: throughout times of turmoil and uncertainty we must always prioritize the well being of the youngest among us.
Tamara Levine then recounts the history of Gil’s Hootenanny, paying a loving tribute to her parents Gil and Helen along the way.
Headliner Rebecca Campbell is introduced, accompanied by Ann Downey and consummate guitarist Fred Guignon. Taking the stage, Rebecca is backlit by an emerging sunset, turning the skies into a glorious tapestry of pink and orange, an appropriate harbinger of her capacity to light up the stage and totally captivate the audience. She charms the assembly with her amazing voice and energy, as she offers riveting interpretations of a wide variety of protest songs, beginning with “Bread and Roses”. Originally written as a poem by Wobbly activist James Oppenheim, it emerged from the Lawrence Mass. Textile strike of 1912, led largely by women workers. This lovely song acknowledges that while sustenance (i.e. bread) is an important issue, so is quality of life, symbolized by the allusion to roses. From Ian Tamblyn’s “Village”, to Willie Dunn’s “Son of the Sun”, to Leonard Cohen’s “Everybody Knows”, all the songs by this in sync trio are beautifully delivered. The trio’s emotional and spiritual connection to their songs is obvious, and their vocal and instrumental harmony perfectly realized.
The magical evening ends with Tony Turner, along with Rebecca Campbell, leading us in a most appropriate finale – his award-winning composition, The Circle of Song. The song celebrates what we have all just experienced – the power of song to unite diverse groups via the joy of collective singing.